BENEDETTO 

AND 

UGLIONI 


\jN  MARQUAND 


BENEDETTO  AND  SANTI  BUGLIONI 


Princeton  Monographs  in  Art  and  Archaeology  IX 

BENEDETTO  AND  SANTI 
BUGLIONI 


BY 

ALLAN  MARQUAND 

PROFESSOR  IN  ART  AND  ARCHAEOLOGY  IN  PRINCETON  UNIVERSITY 


PRINCETON  UNIVERSITY  PRESS 
PRINCETON 

LONDON:  HUMPHREY  MILFORD 

oxford  university  PRESS 

1921 


Copyright,  1921,  by 
Princeton  University  Prkss 

Printed  by  Princeton  University  Press 
Princeton,  N.  J.,  U.  S.  A. 
PubliBhed,  1921 


i         >    *        b        c  « 
•       *      «       '  J      *       4 


»      »  1  »«» 


To  S.  S.  M. 


483262 


Digitized  by  the  Internet  Archive 

in  2008  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/benedettosantibuOOmarqrich 


PREFACE 

In  reviewing  the  works  of  the  della  Robbia  family  we  encounter  many 
monuments  of  glazed  terra-cotta,  which  in  some  cases  resemble  those  of 
the  Robbias  and  confuse  the  student.  In  a  number  of  instances  documents 
have  been  discovered  and  copied  by  my  friend  Mr.  Rufus  G.  Mather,  con- 
siderably amplifying  the  studies  made  a  few  years  ago  by  Fabriczy  and 
others,  so  that  now  it  is  possible  to  isolate  the  works  of  Benedetto  and  of 
Santi  Buglioni.  It  has  been  considered  worth  while  to  publish  these  in  a 
separate  monograph.  There  is  still  considerable  obscurity  in  the  field  oc- 
cupied by  the  sons  of  Andrea  della  Robbia,  an  obscurity  which  perhaps 
may  never  be  dispelled,  but  with  the  works  of  the  Buglioni  distinguished 
and  classed  apart  the  outlook  is  not  so  dark  as  it  was  a  few  years  ago. 


CONTENTS 

PAGE 

I.     Introduction    ^^ 

II.     Catalogue  of  Monuments ^ 

III.     Bibliography  and  Index    217 


I.     INTRODUCTION 

I.  Biographical. 

Benedetto,  or  Betto,  snrnamed  Buglioni,  has,  thanks  to  the  researches 
of  Mr.  Rufus  G.  Mather,  a  genealogy  which  may  be  traced  for  several 
generations.  He  may  now  be  called  Benedetto  di  Giovanni  di  Bernardo 
d' Antonio  di  Migliore.  His  father  Giovanni  was  a  stonecutter  (scarpella- 
tore)  and  maker  of  pavements  (lastraiuolo),  who  settled  in  Florence  and 
hired  a  house  in  the  Via  Campo  Corbolini  (now  Via  Faenza)  from  the  first 
of  July,  1458,  or  about  the  time  of  his  marriage  to  Mona  Caterina.  In  his 
tax  return  of  Dec.  20,  1459  (Doc.  5)  Giovanni  and  Caterina  had  no  chil- 
dren, but  by  1470  (Doc.  8)  they  report  five  children  and,  in  1480  (Doc.  9) 
nine.  Of  these  Benedetto  was  the  eldest,  born  in  March,  perhaps  on  the 
twenty-first,  the  day  of  S.  Benedetto,  and  in  the  year  1459/60,  since  in  the 
tax  returns  of  1470  and  1480  he  is  recorded  as  two  years  older  than  his 
sister  Maddalena,  whose  birthday  is  known  to  have  been  April  10,  1461 
(Doc.  10).  He  was  born  either  in  Florence  or  at  Petacciano,  popolo  di 
S.  Maria  a  Falgano  (Doc.  5).  He  is  described  as  a  sculptor  (schultore) 
(Doc.  12)  and  his  brother  Francesco  appears  to  have  followed  the  same 
profession  (see  No.  25).  Benedetto's  ancestors,  his  grandfather  Ber- 
nardo, and  his  great  grandfather  Antonio,  probably  also  his  great  great 
grandfather  Migliore,  were  farmers,  owning  various  farms,  vineyards, 
pasture  lands  and  live  stock  at  Diacceto  (Ghiacceto)  and  in  its  vicinity. 
Those  who  are  interested  in  such  details  will  be  able  to  follow,  by  the  aid 
of  Documents  i-io,  the  history  of  such  inheritances  through  several  gener- 
ations of  the  Buglioni  family.  To  the  general  historian  of  art  such  docu- 
ments are  of  incidental  rather  than  direct  value.  For  example,  some  years 
ago  I  saw  a  roadside  shrine  near  Diacceto  and  recorded  the  altarpiece  within 
it  as  by  Benedetto  Buglioni.  It  is  now  of  interest  to  learn  that  Benedetto 
was  perhaps  born  near  Diacceto  and  that  his  ancestors  long  owned  property 
in  this  region. 

The  following  genealogical  table  is  based  in  part  upon  the  Catasti  or 
tax  returns,  and  in  part  on  the  more  exact  baptismal  records. 

In  character  Benedetto  appears  to  have  been  shiftless.  At  Perugia  in 
1488  he  was  imprisoned  for  debt  (Doc.  12),  and  in  15 10  he  was  two  years 
or  more  in  arrears  for  the  rental  of  his  home.     He  was  married  on  Aug. 


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BENEDETTO  AND  SANTI  BUGLIONI  xi 

21,  1489  to  Lisabetta-Jacopa  di  Niccolo  di  Mariano  di  Pietro  Mori  (Doc. 
13),  a  lady  who  was  of  some  financial  assistance  to  him,  as  her  dowry  of 
250  florins  was  diminished  by  62  florins,  12  soldi,  9  denari  paid  over  to 
Benedetto,  leaving  a  long  standing  account  of  187  fl.,  18  sol.,  9  den.  to 
her  credit.  The  newly  married  couple  lived  with  his  parents  in  the 
house  on  the  Via  Campo  Corbolini,  which  had  been  presented  to  the  Hos- 
pital of  S.  Maria  Nuova  in  1458,  lived  in  by  Giovanni  and  Caterina,  Bene- 
detto and  Lisabetta,  and  later  by  Benedetto's  successor  Santi  di  Michele. 
It  must  have  been  a  large  house  to  have  contained  Giovanni  and  his  family 
of  nine.  Benedetto's  wife,  while  she  may  have  been  of  some  assistance 
financially,  was  probably  otherwise  a  burden  as  she  died  insane.  Benedetto 
himself,  however,  was  not  rattle-brained,  as  possibly  the  name  Buglione  im- 
plies, but  sufficiently  sound-minded  to  have  been  chosen  in  company  with  the 
best  of  Florentine  artists  to  select  a  site  for  Michelangelo's  David  in  1504 
(Doc.  14), 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

"1461 

1.  Adi  10  (aprile) 
Madalena  e  franc'  di  giovafij  di  bernardo 
lastraiuolo  pplo  s  lorezo" 

[Archivio  dell'  Opera  di  S"  Maria  del  Fiore,  Libro  dei  Battezzati,  1460- 
1466,  c.  16,  published  in  L'Arte,  XXII  (1919),  107.] 

2.  "Martedj  adj  8  di  febraio  1462 
franc"  e  Romolo  dj  Giovafij  dj  bernardo  lastraiuolo 
pp"  s.  lorezo" 

[Idem,  c.  66*.] 

3.  "adi  p'  mo  di 

novebre  1466 

Sano  e  jachopo  dj  giovanj  di 
bernardo  p°  dj  S.  lorezo" 
[Idem,  c.  166.] 

4.  "Adi  29  di  decto    (dicembre)    1468 
Bartolomea  et  loreza  di  giovani  di  bernado 

p.  di  san  lorezo  nacque  adi  29  a  hore  1 1  ba*'  adi  29" 
[Archiv.  idem.  Lib.  dei  Batt.,  1466-1473,  c.  44*.] 

5.  "Domenica  adi  10  decto  (Febraio  1470) 
Maria  et  Apollonia  di  Giovani  di  Bernado 

p.  di  s°  Lorezo  nacque  adi  9  a  hore  3  ba*"  adi  10" 
[Idem,  c.  90.] 


xii  BENEDETTO  AND  SANTI  BUGLIONI 

6.  "Martedi  adi  26  di  decto  (Genaio)  1472 
Proveza  e  paula  di  giovani  di  bernado 

p.  di  s°  Lo"  nacque  adi  25  a  hore  12  ba"  adi  26" 
[Idem,  c.  132'.] 

7.  "Sabato  adi  2^  di  decto  (Optobre)    1479 
Marga*"  et  loreza  di  Giovani  di  Bernado  p 

di  San  lorezo  nacque  adi  22  a  hore  20  bat.  adi  23" 
[Archiv.  idem,  Lib.  dei  Batt.,  1 473-1 481,  c.  100.] 

2.     Monuments  and  Style. 

A  few  years  ago  there  were  apparently  three  starting  points  for  acquiring 
a  knowledge  of  Benedetto  Buglioni's  works  and  style:  (i)  the  fragments 
of  a  Nativity  at  Marra  Carrara,  supposed  to  be  assuredly  his  on  the  basis 
of  a  document  now  lost;  (2)  the  Madonna  between  two  Angels  over  the 
door  of  the  Badia,  Florence,  assumed  to  be  authenticated  by  Vasari;  and 
(3)  various  monuments  at  Perugia,  for  which  the  documents  were  pub- 
lished by  Adamo  Rossi.  In  endeavoring  to  correlate  other  monuments 
about  these  three  sources  I  soon  found  that  each  led  in  a  different  direc- 
tion, that  if  the  three  premises  were  securely  founded  there  must  have  been 
three  sculptors  of  the  same  name.  But  a  careful  revision  of  the  documents 
and  the  monuments  showed  that  the  Nativity  at  Massa  Carrara,  at  least  the 
fragments  there  today,  could  not  have  been  made  by  Benedetto  Buglioni, 
and  that  the  Madonna  and  Angels  of  the  Badia  bore  neither  external  nor 
internal  evidence  of  being  his  handiwork.  Not  so  with  the  monuments  at 
Perugia.  These  are  properly  authenticated  and  our  true  starting  point 
for  an  estimate  of  Buglioni's  style. 

Inasmuch  as  the  monuments  of  Benedetto  Buglioni  are  arranged  in  this 
volume  in  chronological  sequence  the  reader  may  judge  for  himself  whether 
there  is  sufficient  similarity  in  the  series  to  justify  their  attribution  to  a 
single  sculptor.  For  his  convenience  the  following  is  a  list  of  monuments 
by  Benedetto  Buglioni  which  are  authenticated  by  written  documents. 

1484.    Christ  in  Hades.     The  Servi,  Florence.     Lost. 
1487-1488.    Fragments  from  a  marble  altarpiece  in  the  Cathedral,  Perugia. 
Lectern,  medallions  and  lavabo,  S.  Pietro,  Perugia. 

1488.  Pieta.    Palazzo  dei  Priori,  Perugia.    Lost. 

1489.  Stemma  at  Amelia  repaired.     Lost. 

1490.  Lavabo.     Palazzo  dei  Priori,  Perugia.    Lost(?) 
"        Resurrection  altarpiece,  Pistoia. 

1 49 1.  Madonna.     Cathedral,  Florence.     Temporary. 

1508.    Nativity  and  Epiphany  altarpieces,  Massa  Carrara.     Lost. 
1 5 10.    Coronation  of  the  Virgin,  Ceppo  Hospital,  Pistoia. 


BENEDETTO  AND  SANTI  BUGLIONI  xiii 

1 5 13.    Stemma  of  Leo  X.     S.  Lorenzo,  Florence.    Temporary. 
151 5.    Stemma  of  the  Ceppo  Hospital,  Pistoia. 

"        Charity,  Hope.     S.  Lorenzo,  Florence.     Temporary. 
1 5 16-15 1 7.    Madonna  and  Saints  altarpiece.     Badia  Tedalda. 

There  are  moreover  a  number  of  monuments  equally  important  to  the  ser- 
ies for  which  written  documents  have  as  yet  not  been  discovered,  but  which 
are  dated  and  executed  in  Benedetto  Buglioni's  individual  manner.  These 
will  be  found  in  their  proper  places  in  the  list  of  monuments.  It  is  very 
probable  that  Francesco  Buglioni  had  an  important  share  in  the  production 
of  some  of  the  works  here  attributed  to  his  brother  Benedetto,  but  his  indi- 
viduality is  not  clearly  marked  and  hence  his  personality  may  for  the 
present  be  disregarded. 

Vasari,  in  his  life  of  Verrocchio,  assures  us  that  Benedetto  Buglioni  se- 
cured the  secret  of  glazing  terra-cotta  from  a  woman  of  the  house  of  An- 
drea della  Robbia.  Such  tales  of  romance  and  of  mystery  add  interest  to 
Vasari's  gossipy  lives  of  the  artists,  but  as  history  are  not  enlightening. 
It  is  enough  to  note  here  that  the  two  Buglioni,  Benedetto,  and  his  suc- 
cessor Santi,  were  not  pupils  of  the  Della  Robbias  and  yet  they  practised  the 
art  of  glazing  terra-cotta  sculpture.  We  are  not  told  who  was  Benedetto's 
master,  but  if  we  consult  his  works  we  are  led  to  believe  that  Antonio 
Rossellino  was  the  determining  influence  in  shaping  his  style.  Examine 
that  master's  tomb  of  the  Cardinal  of  Portugal  at  S.  Miniate  and  his  Na- 
tivity altarpiece  at  Monteoliveto,  Naples,  and  you  will  see  whence  Benedetto 
Buglioni  may  have  derived  his  garland  bearing  angels,  his  wreaths  with 
detached  fruit,  his  Nativities  with  the  choir  of  dancing  angels,  his  predellas 
with  Evangelistic  symbols,  his  Desiderio-like  putti,  and  even  his  vases  set 
with  an  angle  facing  the  spectator.  Of  course  Benedetto  lacked  Antonio's 
refinement  and  grace,  and  we  find  him  reverting  to  simple  compositions 
with  types  of  rustic  character.  Occasionally  he  rises  above  his  normal  level 
and  a  Madonna,  like  that  at  San  Casciano,  or  a  sleeping  figure  like  that  of 
S.  Cristina  at  Bolsena,  breaks  the  dull  monotony  of  the  series.  Similarly, 
if  we  study  his  frames  we  find  a  series  parallel,  but  not  precisely  similar, 
to  those  of  the  Robbia  School.  At  times  he  is  impressed  by  Andrea's  ex- 
ample and  borders  his  relief  with  a  series  of  cherub  heads.  Again,  he  ap- 
proximates Giovanni  with  his  continuous,  hanging  garlands.  His  own  in- 
dividual taste  for  an  inner  cord  and  an  outer  egg  and  dart  moulding  is  seen 
again  and  again. 

While  we  may  not  be  able  to  record  innovations  of  marked  import — still 
it  is  interesting  to  conclude  that  during  the  last  two  decades  of  the  15th 
century  and  the  first  two  of  the  i6th  there  was  at  least  one  well-established 
atelier  apart  from  the  Delia  Robbias  producing  a  similar  class  of  works  in 
glazed  terra-cotta  and  that  at  the  head  of  this  atelier  was  Benedetto  Buglioni. 


xiv  BENEDETTO  AND  SANTI  BUGLIONI 

3.     List  of  Documents. 

1.  Extract  from  Antonio  di  Migliore's  tax  return  of  1427. 

2.  Antonio  di  Migliore's  tax  return  of  1429. 

3.  Bernardo  d' Antonio's  tax  return  of  1435. 

4.  "  "  "        "        "   1459. 

5.  Giovanni  di  Bernardo's  tax  return  of  1459. 

6.  Giovanni  di  Bernardo  rents  the  house  in  the  Via  Campo  Corbolini, 

1 461. 

7.  Concerning  rental,  1465. 

8.  Giovanni  di  Bernardo's  tax  return  of  1469. 

9.  "  "  "  "        "        "    1480. 

10.  "  "  "  "        "        "    1495. 

11.  Benedetto  di  Giovanni  imprisoned  for  debt  in  Perugia,  1488. 

12.  Benedetto  marries  Lisabetta  Mori,  1489. 

13.  "         one  of  the  commissioners  to  select  a  site  for  Michelangelo's 

David,  1504. 

14.  "         rents  the  house  in  the  Via  Campo  Corbolini,  15 10. 

15.  Benedetto's  death,   1520/21. 

16.  "  burial,  1520/21. 

17.  Lisabetta's  dowry,  1523, 

18.  The  house  in  the  Via  Campo  Corbolini  taken  over  by  Santi  Buglioni, 

1522. 

19.  The  rental  of  the  house,  1522. 

20.  "     sale       "     "        "       1526. 

21.  Concerning  rental,  1534. 

22.  Death  of  Lisabetta,  1531. 

2^.    The  heir  to  Lisabetta's  property,  1534. 
24.    Concerning  Lisabetta's  dowry,  1547. 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

I.     Extract  from  Antonio  di  Migliore's  tax  return  of  1427. 
'T(o)p(o)lo  di  S.  Maria  di  falgano  [1427] 


ab  Antonio  di  migliore  et  an(n)j  80  pe(r)  benj 

Bernardo  suo  figliuolo 

resta  f.  dugiento  cinquanta  cinque         f  255" 

[Arch,  di  Stato,  Archiv.  delle  Decime,  Catasto  1427,  Quartiere  S.  Giov., 
Piviere  di  S.  Gio.  di  Firenze  e  Monte  Fiesole,  Cod.  No.  166,  c.  208.] 

Note. — Antonio  di  Migliore  is  here  recorded  as  80  years  of  age.     Two 
years  later  his  age  is  given  as  75. 


BENEDETTO  AND  SANTI  BUGLIONI  xv 

2.     Antonio  di  Migliore's  tax  return  of  1429.     (Actually  made  before 
Dec.  16,  1428.) 

"Q(uartiere)  S.  G(iovanni)  [1429] 

P(iviere)  dj  Ghiacceto  plo  S^M"  detto  (a  falghano) 
Sustanze  dj 
lib.  I  sol.  4      Antonio  dj  Migliore 

j°(uno)  podere  chon  chasa  dalavoratore 

vingne  terre  lavoratie  e  pasture 

poste  i  detto  plo  da  p(rim)o  via 

sechondo  fossato  0/3  nannj  di  Ghuido 

0/4  Rede  dj  meo  dj  bacc(i)o  dj  stima  fj  35-  fj.  35  — 

Rende  lanno  Grano         st.  6  p.  sol  -  st 

vino  chongno  i         p.  sol  -  be 

olio        lib(r)e  1  p.  sol  -  liba 

biade  minute  —  st  j  p.  sol  -  st 

charne lib(r)e  200  p.  sol  -  cc" 

a  coto  la  y^.      j"  podere  dj  terra  posta  i  detto 
b(er)nardo      plo  lavoratia  p(rim)o  via  sechondo 
popolo  dj        chiesa  dj  s"  gusto  0/3  M'  Sbanda 

s    michele  bis-  .       .  .        ^  r-        r 

domini  al  1469  0/4  fossato  dj  stima fj.     6  fj.     0  — 

p(er)  f J  74      jO  p^^^  ^j  ^gj-j.^  lavoratia  i   detto 

plo  p(rim)o  nannj  dj  nicholo  sechondo 

fossato  0/3  Rede  dj  mainardo  0/4 

chomunanza  dj  stima  — ' fj-     4  fj-     4  — 

1°  pezo  di  p(r)ato  posto  I 

detto  luogho  da  p°  sechondo 

c(ho)m(un)anza  0/3  nannj  di 

niccholo  0/4  benj  dela  chiesa  dj 

stima fj.   15  fj.   15" 

j'  chasa  chonunpezo  dj  t(erra)  p°  Matteo  dj  pello 

sechond  via  0/3  chomunanza  0/4  chomunanza  vale  —  f  j.  8  f  j.     8  — 

rende  lanno  grano  st  13  p.  sol  —  st 

vino bl  j  p.  sol  —  be 

1°  pezo  di  terra  lavoratia  e  vingnata 

a  i/2(meta)  p(er)  Matteo  dj  pello  p(er)nondivisa 

p(rim)o  via  secondo  M'  sbandella  0/3  Rede  dj 

schiattone  0/4  fossato  vale ' f j-  25  .    f j-  25  — 

tengho  a  fitto  la  sua  meta  da  Matteo 

e  doglj  lano  grano  st  10 

Rende  grano       st  4  p.  sol.  -  st 

vino    barilj     8  p.  sol.  -  be 

olio     libe       j    p.  sol.  -  libra 


XVI 


BENEDETTO  AND  SANTI  BUGLIONT 


biada        st    3  p.  sol.  -  st 

1°  pezo  dj  p(r)ato  posto  i  detto  plo 

(ia  p*  f  ossato  sechondo  via  0/3  chomunanze  vale  -  f  j .  2 

Rende  lanno  fieno  j°  traino  p.  sol.  -  t(raino) 

1°  paio  dj  buoj  dj  valuta fj.  5  - 

1°  paio  porcj —  f  j.  -  lib.  6  - 

debitorj 
biag(i)o  tiglinj  p(er)  1°  paio  buoj  —  —  fj.   15  — 

"Q(uartiere)  S.  G(iovanni) 
segue  detto  antonio 

E  piu  da  p.  una  agiunta  adj  16  dj  dicenbre  1428- 
agiungnie  una  fine  dj  stima  dj  fiorinj  quatro  fj.  4^ — 

E  piu  agiungnie  p.  buoj  fiorinj  10 f  j.  10 

E  piu  agiungnie  supra  a  suo  j  ben  j f  j .  6  — 


fj.  2.  sol. 


fj. 


5  — 
I.  sol. 


10 


fj.   15 


20. 


Incharichj 
Nannj  di  ghuido 
el  p(r)ete  dj  s"  gusto 


-  lib.  14 
f  j.  I  - 


fj. 

4 

fj. 

10 

f. 

6 

fj. 

3 

fj. 

I 

el  chomune  p.  R°(resto)  djnposte  —  fj.  -lib.  30  — 

Bocche 
Antonio  detto  anj  — • — 


fj.- 


75 
55 
28 
20 


sol.  quatro 
sol.  quatro 


fj.  136  sol.  10 
fj.  4  sol.  10 
f j.  132  sol.  — 


M*  Giovanna  sua  donna  anj  — 

Piero  suo  figliuolo  anj  

M*  Piera    sua  dona  anj  — 

Bandino( Bernardino)  dantonio  anj  -25 

M"  Nencia    sua  dona        — — • 22 

Margherita  dj  bandino  anj 1/2 

(Added  by  clerk) 
Somma     su     sostanza  '   — 

soma       jncharichj  — 

Restagli  di  sustanza  — 

s"( somma)  Boche  7  teste  2  sol.  8 

a  sol.  15  p.  c"  —  sol.  19  dj.  8        — lib.  i  sol.  7  di  8" 
[Archiv.  idem,  Quartiere  S.  Giovanni,  1429,  Cod.  324,  c.  301  e  301*.] 

3.     Bernardo  d' Antonio's  tax  return  of  1435. 
107  "Q^  di  sangiovannj  [i435] 

•     piviere  dj  pomino 

podesteria  di  pontasieve 
popolo  di  sanbartolo  a  pomino 
B(er)nardo  dant"  di  Migliore  a  destimo  nel 
detto  p(o)polo  di  san  bartolo  a  pomino 
soldi  diciasette  di  cinq*  —    sol.  17  di.  5 


BENEDETTO  AND  SANTI  BUGLIONI 

Sustanza  di  detto  b(er)nardo 
Una  chasa  p.  suo  abitare  bassa  posta  nel  detto 
p(o)polo  luogho  detto  al  p(r)ato  da  p"  via  da  s° 
s(er)  alleso  di  Matteo  ghaluzj  da  1/3  piero  di 
chanbino  da  1/4  Migliore  di  maso  la  qual 
chasa  stimo  f  j  sej    — 

Un  pezo  di  ter(r)a  posto  jn  detto  p(o)p(o)lo  da 
p"  via  da  s°  Migliore  di  maso  da  1/3  piero 
di  maso  da  1/4  lo  spedale  di  sanghallo  alia 
(ha  la)   detta  tera  di  stima  dj   fj   dodici  cioe 
Rende  lanno  st*  quattr"  di  grano 
Un  pezo  di  tera  posto  jn  detto  plo  da 
p°  via  da  s°  via  da  1/3  fossato  da  1/4  bartolino 
sarto  di  stima  di  fj.  tre  cioe 


xvn 


Un  pezo  di  'ter(r)a  posto  in  detto  ppolo  da 

p°  andrea  da  cholle  da  s"  guido  di  bartolo 

da  1/3  via  da  1/4  fosato  di  stima  dj  fj.  sej  cioe 

rende  lanno  st  dua  dj  grano 

Un  pezo  di  p(r)atto  posto  jn  detto  pplo  da 

p"  nannino  di  piero  da  s°  franc"  di 

giannozo  degli  albert  j  da  1/3  fosatto  di  stima 

di  fj.  sej  cioe  ^- — ■ 

rende  lanno  st  dua  di  grano 

Un  pezo  di  tera  posto  in  detto  pplo 

da  p°  via  da  s°  piero  di  maso  da  1/3  detto 

piero  dj  stima  di  f  j.  tre 


Rende  lanno  st  uno  di  grano 

Un  pezo  di  tera  posta  i  detto  ppolo  da  p° 

via  da  s°  Meo  di  chanbino  da  1/3  Meo  detto 

da  1/4  jac°  di  Michele  lottj  di  stima  di  fj.  tre  cioe 

Rende  lanno  st  uno  di  grano 

ho  questi  due  pezi  di  tera  cho  questo  icharicho 

che  debbo  i  p(er)petuo  paghare  sol.  cinque  alia  badia 

di  vallenbrosa  davillare  et  jn  quanto  no  phaghasj 

j  detti  sol.  cinque  sintendono  j  dettj  benj 

'rl(c)hadere  alia  badia  di  valenbrosa  detta 

Un  pezo  di  tera  posto  in  detto  pplo  da  p" 
Maso  della  Rena  da  s°  Maso  detto  da  1/3 
andrea  da  cholle  e  a  1/4  guido  di  bartolo 

di  stima  di  f  j  tre • 

Rende  lanno  st  uno  di  grano 

Un  pezo  di  tera  vingnata  posto  jn  detto 


fj.  6 

fj.  12  — 

fj-  3- 

fj.  6- 


fj.     6 


fj.     3 


fj-     3 


sol.  5 


fj-     3 


xviii  BENEDETTO  AND  SANTI  BUGLIONI 

ppolo  da  p°  piero  di  maso  da  s"  piero  detto 
da  1/3  s.  allesso  dj  Matteo  ghaluzj  di  stima 

di  fj  due  ■ fj.     2 

Rende  lanno  barilj  uno  di  vino 
ho  questi  due  pezj  di  tera  chon  quel 
medesimo  jncharicho  cholla  badia  di 
Valenbrosa  et  piu  debbo  dare  alia  pieve 
di  pomino  hogniano  u(n)mezo  st  di  grano 

Bestie 

Un  bue  di  stima  di  f  j.  quat°  cioe  ■ f  j.     4 

Una  vacha  di  stima  di  f  j.  due  cioe    f  j.     2 

ho  venduto  un  pezo  di  tera  posto  jn 
detto  ppllo  a  Meo  dj  chanbino  la  qual 

tera  gli  vendi  fj  tre  et  mezo  cioe  fj.     3^ 

funne(nefu)  roghato  s.  ant"  di  rovaio 
jncharichj  di  detto  bernardo 
jn  p'ma( prima)  ho  maritata  una  mia 
fanciula  a  betto  dj  simone  dalerano 
e  deboglj  dare  dj  dotta  f  j  venticinque 
anne  andata  la  detta  fanciula  a  marito 
et  p.  rinpotenza  nogljo  (non  gli  ho)  anchora 

potuto  dare  niulla  cioe  — ■ fj.  25 

ho  debito  chol  chomune  f  j.  diecj  cioe f  j.   10 

Bdche 
B(er)nardo  detto  detta  dannj  —       40 
M°  nencia  sua  donna  detta  danj  —  36  • 

Matteo  suo  figliuolo  detta  danj  • —  13 
giovanj  suo  figluolo  detta  danj  —  11 
andrea  sua  figliuola  detta  danj    —    8" 

[Archiv.  idem,  1435  S.  Gio.  da  N"  loi  al  108,  Piv"  della  Rata  de  Cas- 
tigli"'  Diaceto  S.  Bartolomeo  a  Pomino,  segnato  Cod.  586  N°  107.] 

4.     Bernardo  d' Antonio's  tax  return  of  1459. 
A^ssj  a  vedere     "Q(uartiere)  di  S.  G(iovanni  [1459]     habita  nel  pplo  di  sa 

Salda                  piviere  di  diaccetto  polio  giusto  I  sa  M"  a  fal- 

Santo  Bartolo  appomino  ghano  luogho  detto 

podesteria  a  ponte  a  sieve  petacciano    e    quivj 

Bernardo  dantonio  dj  Migliore  ha  benj   che  gli   fa 

abita  nel  detto  popolo  al  presente  dire  in  giovanj  suo 

a  destimo  sol.  18  djcieva  figluolo  che  e  schar- 

il  chatasto  in  frate  Bartolo  -         pellatore  i  firenze 
chonverso  di  valonbrosa 


BENEDETTO  AND  SANTI  BUGLIONI 


XIX 


dal  chatasto  S. 
giovannj  N"  3 
c.  208  soto 
nome  di  bar- 
tolo  di 

Migliore  overo 
frate  bartolo 
p(er)  piu  benj 
p(er)    f.   tre- 
cento trenta 
cioe  f  330  divi- 
donsi  i  q° 
modo  cioe  al 
detto  b(er)- 
nardo  p(er)  la 
sua  meta  f  140 
a  Migliore  di 
Maso  i  q"  popo 
p(er)  la  sua 
meta  f  i9op(er) 
che  ebbe  piu 
f  25  che  la 
meta  al  (14)69 
achoncio  del 
detto  p(er)   f 
200 


chomputati 
i  p'  (prima) 
faccia 
sono  nela 
soma  dila 


Benj 
Una  chasetta  posta  nel  popolo  di 
santo  Bartolo  a  pomino  chonuna 
chapana  p.  mio  abitare  chon  uno 
pezo  di  terra  vignia(ta?)  e  lavoratia 
p.  via  2  via  3  lo  spedale  di  santo 
ghallo  di  stima  di  f  20 
Rende 

Vino      barilj  i 

grano        —        staia  3 
Uno  pezo  di  tera  luogho  detto 
al  chasaia  chon  quercie 
p(rimo)  via  2  via  3  pi(e)ro  Maretti  di  stima  dj  f  3  Rende 


p(er)  la  casa  £  10 


al  (14)69  1  luj 
deto  I  deto  popolo 
p(er)  f  200 


staia 


I  di  grano 


uno  pezo  di  tera  luogho  detto  a  chasa 

pratto  p(rimo)  fossato    2  lerede  dj  Mona  gherarda 

.3  bartolo  sarto  dj  stima  £  ij 

Rende 
staia  grano  staia  i 

Uno  pezo  di  tera  luogho  detto  achasitolla 
dj  stima  di  £  4  p(rimo)  guido  2  sandro 
3  4  lerede  dandrea  da  ghole  Rende 

staia  I  di  grano 

Uno  pezo  di  tera  luogho  detto  inprioperte 
dj  stima  dj  f  4  p.  via  2  ghuidi  dj  sandro 
3  lerede  dandrea  da  gholle  rende 

staia  j  di  grano 

Uno  pezo  di  tera  posta  nel  detto 
luogho  chon  castagnietto  e  pastura        £  190 
p(rimo)  via  2  fossato  3  Migliore  di  Maso 
dj  stima  dj  £  5  rende 
grano  staia  i>^  d  g(rano) 

Uno  pezo  di  tera  cho  cierj  (cerri) 
e  tera  lavorattia  dj  stima  £  i  p.  via 
2  ghuido  di  sandro  3  pierjno  di  pratto 
luogho  detto  a  chastegnietto  dj  stima  £  i 
Uno  pezo  dj  pratto  luogho  detto  alamoca 
p.  2  el  fiume  3  andrea  bucceglj  dj  stima  £  ij 
Rende 

grano    staia     Yz 

Uno  pezo  dj  prato  luogho  detto 
Baronciglio  dj  stima  dj  £  4  p.  via  2 


XX  BENEDETTO  AND  SANTI  BUGLIONI 

nanino  dj  mona  bartola  3  franc"  degli  albertj  Rende 

grano    —    staia  j 

Uno  pezo  di  pratto  luogho  detto  Monte  a  pruno 
p(rimo)  via  2  fossato  3      dj  stima  f  i 
Abiano  dj  charichj  ala  badia  di  valonbrosa 
in  perpetta    sol.  5 

Uno  paio  di  buoj  vecchj  dj  stima       f    8     f  12 
Uno  paio  dj  giovenchettj  dj  pregio    f  10     f  14 

f  26 
Bocche 

Bernardo      dannj  62 

Mona  Margheritta       sua  dona      —  40 
Matteo  mi  figliuollo     annj  —  31 

Franc"     mi   (fi)gliuollo  annj  —  27 

Bartollo  dannj  -  20 

Mona  Meghera  dona  dj  Matteo 
mio  figliuollo  dannj  20 

(added  by  clerk) 
Bocche  sette 
p(e)l     valsente  della  chasa  i  p(rim)a  faccia     —  f    10 
p(e)l     valsente  de  benj  i  mobilj  I  p'  faccia     —  f  190 
p(e)l     valsente  di  piu  bestie  i  seconda  faccia    —  f    26 
p(er)  a  testa  di  bernardo  detto  —  sol.  2 

p(er)  la  testa  di  matteo  sol  3 

p(er)  la  testa  di  franc"  • —  sol  3 

p(er)  la  testa  di  bartolo sol  2 

Salda  adj  6  di  setenbre  1459  col  detto  bernardo" 
[Idem,   idem,   Estimo  di    1459,    San   Giovanni,   segnato 
Cod.  884  n"  107  c.  8.] 

5.     Giovanni  di  Bernardo's  tax  return  of  1459. 
NM  "Q(uartiere)   S.  G(iovanni)  [1459] 

Piviere  di  san  giovannj  di  firenze 
p(o)p(o)lo  di  S  Michele  bisdominj  di  firenze 

viene  di  jgta  alo  scharpelatore  i  po(r)ta  Rossa     • 

n'Cnuovo)  .,.,  «  . 

Giovannj  di  bernardo  dant   di  migliore 

e  nellestimo  presente  existimato  nel  p(o)p(o)lo 

di  sa  Bartolo  a  pomino  sotto  la  poste 

^^^^^  e  partite  di  bernardo  suo  padre  i  sol  due  pella  testa 

Substanzie 

La  meta  p(er)  no  diviso  cho  figliuolj  heredj 

di  cione  da  stia  di  chasentino  duna 

chasetta  co  terre  lavoratie  vignate  e  sode 


BENEDETTO  AND  SANTI  BUGLIONI 


XXI 


chonpero  da 
piero  di 
sa  maria  a 
falghano  f  74 
a  suo  coto  al 
c°   (catasto) 
1469  p  f  74 


M' 


e  pasture  e  boschate  posta  nel  p(o)p(o)lo  di 
sea  maria  a  falghanno  luogho  detto  a 
petacciano  che  da  j°  apogiatj  la  chiesa 
di  san  giiisto  da  ij°  Rede  di  nannj  di 
ghiiido  da  iij"  fossato  da  iiij°  rede  di 
cione     detto 

La  meta  p(er)  no  diviso  c5  s(er)  alexo  di 
Matteo  pollj  dun  pezo  di  terra  lavoratia 
e  vignata  co  quercj  posto  nel  p(o)p(o)lo 
di  sea  maria  a  falghano  luogho  detto 
allapennuccja  da  j°  via  da  i  j°  j  figliuolj 
dant°  di  nannj  di  nicholo  da  iij  e  11  ij" 
fossato 

I  qualj  benj  chonperaj  da  piero  dant" 
mio  zio  il  quale  piero  e  existimato 
nel  p(o)p(o)lo  di  santa  maria  a  falghano 
pivjere  di  ghiaceto  e  chosj  era  exist- 
mato  nellestimo  passato  i  sol.  xiiij"  p(er) 
pregio  di  f  settanta  q(u)  (a)tro 
carta  p(er)  s(er)  Matteo  da  falghano 
Rendono  detti  benj  p.  anno  di  mezo 


al  (14)69  i  luj 
detto  i  detto 
polo(popolo) 
P  f  74 


Grano 

Vino 

Olio 

Castagne 

Carne 


St  vnj 
barilj  v 
libra  una 
St  sej 
lib.  50 
debitj 


—  St'     8 


St' 

bar 
lib. 

St" 

lib. 


0 

I 

6 

50 


f74 


Dadare  andrea  di  lorenzo  legnaiuolo 

a  sa  trinita  lib.  xviij  — 

Dadare  a  domenicho  di  franc" 


lib.   18  sol. — 


del 


p(o)p(o)lo  di  santa  maria  a  falghano  lib.  20  sol' — 

Bocche 
Giovannj  sop  (ra)  detto  dannj       30 
Caterina  sua  donna  anj  20 

Il  chatasto  del  1427  dicieva  i  ant° 
di  migliore  del  p(o)p(o)lo  di  santa  maria 
a  falghano  p(iviere)  di  ghiacetto 

bocche  2 

p(er)  valsente  de  benj  jmobilj  f  74 

p(er)  la  testa  di  Giovanj  di  bnardo  sol.  4 

adi  20  di  dicenb  1459" 
[Idem,  idem,  Estimo  1459,  Quartiere  di  San  Giovanni, 
segnato  Cod.  880,  c.  12  e  12*.] 


xxii  BENEDETTO  AND  SANTI  BUGLIONI 

6.     Giovanni  di  Bernardo  rents  the  house  in  the  Campo  Corbolini. 

+              [1461] 
"Giovanni  di  b(er)nardo  scarpellatore  chondusse  a  pigione 
p(er)  anni  tre  e  mesj  iiii°  chom(sic)  chominciarono  adi  p(rim)°  di 
luglio  1458  a  ragione  di  l(i)b(r)e  xxiiij"  lano  una  chasa 
posta  jn  champo  chorbolinj  nel  po(po)lo  di  san  lorenzo 
da  p(rim)o  via  s"  chimeto  di  domenicho  barbiere  1/3  benj 
della  sagrestia  di  san  lorenzo  1/4  benj  di  sa  jacoix) 
jn  champo  chorboHnj  la  qual  casa  e  dono  d'andrea 
di  ghuido  nutini  adi  7  di  luglio  1458  p(er)  mano  di 
s(er)  giovannj  ginj(?)  p(er)  li  chagioni  che  dice  alib(r)o 
della  gruccja  c.ioo  sotto  nome  di  detto  andrea  charta 
dello  chagione  p(er)  s(er)  giovan(n)j  vannj  adj  19  di  luglio 
1458  ....  p(er)insino  a  tutto  ottobre  1461  che  sono 
an(n)  j  tre  mesj  4 f  j  -  hb.  80" 


[Archivio  del  R.  Arcispedale  di  Santa  Maria  Nuova,  Libro  Fitti  e  Livelli 
G,  1451-1472,  c.  97'.] 

7.  Concerning  rental. 

"1465 
Giovannj  di  Bernardo  scharpellatore  tiene 
a  pigione  p(er)  lib.  xxiiii"  p''(paia)   1°  dj  pollastre 
lan(n)o  e  Resta  addare  p(er)  insino  a  tutto  otto- 
bre 1465 " 

[Idem,  c.  160.] 

8.  Giovanni  di  Bernardo's  tax  return  of  1469. 

"Q(uartiere)  di  santa  M'  No(vella)  G(onfaloniere)  vipera     [1469] 
Giovannj  di  bernardo  dantonio  lastraiuolo  andava  pel  piviere 
dj  santo  giovannj  dj  firenze  e  popolo  dj  santo  michele  bistomini 

Sustanze 
la  meta  p(er)  nondivisa  chon  figliuolj  e  rede  dj  clone  da 
stia  dj  chasentino  duna  chasetta  chon  terre  vingniat^ 
e  sodj  e  alberate  posta  nel  popolo  dj  santa  maria  a 
falghano  luogho  detto  a  petagano  daprima  la  chiesa  di 
san  gusto  2  rede  dj  nannj  dj  nicholo  3  fossato  4  rede 
dj  cino  detto 

la  meta  p(er)  non  divisa  bernardo  dantonio  da  pomino 
dun  pezo  di  terra  lavoratia  vingniata  chon  quercj 
posto  nel  detto  popolo  luogho  detto  allapennucia 
da  prima  via  2  erede  dantonio  dj  nannj  dj  nicholo 


BENEDETTO  AND  SANTI  BUGLIONI  xxiii 

3,  4  fossato  elle  qua(lj)  terre  sopradetto  chonperaj 
dapiero  dantonio  del  popolo  dj  santa  maria  a  f alchano 
a  stima  dj  f  74  charta  p(er)  mano  di  s(er)  matteo  da 
falghano  rende  in  parte 


ghrano 

staia 

8 

vino 

barilj 

5 

Olio 

barilj 

/2 

chastangnie 

staia 

6 

charne 

libre 

50 

una  meza  chasa  p(er)non  divisa  chon  domenicho  dj  jachopo 
bastiere  posta  nel  popolo  dj  santo  miche(le)  bistominj 
daprima  via  2  s(er)  allesso  3  santo  sano  4  laquale  mi  fu 
consengniata  in  dota  p(er)  fondo  dotale  p(er)  f  80    —  f  107.2,11 

boche 


Giovannj     detto 

danj 

36 

Mona  chaterina     sua  donna 

danj 

29 

benedetto              suo  figluolo 

danj 

9 

Madalena              sua  figluola 

danj 

7 

franc"                    suo  figluolo 

danj 

5 

sano                      suo  figluolo 

danj 

2 

bartolomea            sua  figluola 

mesi 

8 

Soma  sue  sustanzie  chome  di  sopa  f  181.  2. 11 

Tochaglj  dj  chatasto  dj  tuttj  e  sua  beni  chonputato 

larotto  s  nuove  dj  diecj  a  oro  p(er)  vigore  di  legge 

fatta  pe  consiglj  oportunj  sotto  dj  20  dottob(r)e 

1469  notata  detta  legge  in  q(u)esto  c.  419 f-  s  viiij  dj  x" 

[This  portata  was  actually  made  late  in  August  or  early  in  September 
1469  as  per  note  on  back  of  page  498  which  reads  "R°  e  detto  adj  29 
daghosto  1469."] 

[Arch,  di  Stato,  Arch,  delle  Decime,  anno  1469,  Quart,  di  S.  Maria  Nov- 
ella, Gonf.  Vipera,  Filza  916,  c.  5 1 5 ;  published  in  L'Arte,  XXII  (1919), 
105-106.] 

9.     Giovanni's  tax  return  of  1480. 

"Q'  S'  M"  Nov^(Novella)  [1480] 

G'  Vipera 
Giovannj  di  b(er)nardo  danto"  lastraiuolo  lavora  p(er)  opere 
ebbe  di  chatasto  in  suo  nome  1470  s  9  dj  10 

Sustanze 
la  meta  dun  pezzo  diterra  p(er)  non  divisa  collerede 
e  figliuolj  dj  clone  da  stia  di  chasentino  posta 
nel  p'lo  dj  s°  gusto  a  falghano  chon  una  chasetta 


XXIV 


BENEDETTO  AND  SANTI  BUGLIONI 


cho  terre  lavoratie  luogho  detto  a  petrocciano  a  p"  la 
chiesa  di  s°  gusto  s"  erede  di  nannj  dinicholo  1/3 
fossato  1/4  Rede  di  cino  detto 

la  meta  dun  pezo  terra  p(er)  non  divisa  chon  bernardo 
dant"  da  pomino  lavoratia  e  vignata  chon  quercj  posta 
nel  detto  popolo  luogho  detto  alia  pennuccia  da  p°  via 
s"  Rede  dant"  dinannj  di  nicholo  1/3  fossato  lavorala 
a  mendue  e  pezj  b(er)nardo  dant°  di  migliore 
Rende  in  parte 


Grano 

St 

8 

vino 

blj 

5 

olio 

lib. 

4 

chastagne 

St 

6 

charne 

lib. 

50 

i  74 


Una  meza  chasa  p(er)  no  divisa  cho(n)  dome"  dj  iac° 

bastiere  posta  nel  popolo  di  s°  michele  bisdominj 

a  p'  via  sechonda  s(er)  allesio  notaro  fiorentino  1/3  s" 

sano  la  quale  one  a  apigionata  a  girolamo 

dj  domenicho  cieraiuolo  onne  di  pigione  di  detta 

meza  chasa  i  y}i  lan(n)o 

184.14.3 
Tengho  a  pigione  una  chasa  dallospedale  di  s' 
m'  nuova  posta  nel  p.lo  di  s°  lorenzo  e  nella  via 
maestra  della  porta  a  faenza  a  p°  via  sechondo 
chimentj  barbiere  1/3  s°  lorenzo  pagho  di  pigione 


alio  spedale  ognj  an(n)o  £5  — 

Boche 
Giovannj 
M"  chaterina  mia  don(n)a 


mio  fi( 


Benedetto 

Maddalena 

franc" 

sano 

B(ar)tolomea 

Maria 

provenza 

mansueto 

Margherita 

(added  by  another  hand) 

Soma  le  sustanze      • 


mia  fig" 
mio  fig" 
mio  fig° 
mia  fig' 
mia  fig' 
mia  fig' 
mio  fig" 
mesi 


anj  50 
anj  40 
anj  20 
anj  18 
anj  15 
anj  13 
anj  II 
anj     9 


f  85  s  14  dj  4 


ista  alio  ischarpellatore 
a  di  dota  f  100  sul  mo(nte) 
ista  allottonaio  di  salario  f  3 
chericho  i  santa  Repartata 


anj 
anj 


abatte  p(er)  5  p(er)  c"  (per  cento) 
abatte  p(er)   pigione  di  chasa 


f  184.14.3 

f      9-  4-8 

f    85.14.4 

94.190 


BENEDETTO  AND  SANTI  BUGLIONI  xxv 

Avanzaglj  f  89  s  1 5  dj  3  oro 

a  7  p(er)  c°  f  6  s  5  dj  8  oro 

tochaglj  p(er)  la  schala  a  Ragione  di  f  vii  p(er)  c" 

f  j  -  s  viii  dj  viiii"  f j  ' s  8  di  9 

tochaglj  —  f  —  1  —  I  .16.8  " 

[A.  di  S.,  Archiv.  delle  Decime  1480,  Quart.  S"  M"  Novella,  Gonf.  Vipera, 
Filza  N°  1008,  c.  221 ;  published  in  UArte,  XXII  (191 9),  106.] 

10.     Giovanni's  tax  return  of  1495. 

[This  portata  as  of  date  1498,  was  actually  made  about  Apr.  10,  1495 
which  is  proved  by  the  note  at  the  foot  of  the  opposite  page  "+R°  franc" 
detto  di  X  dap(ri)le  1495."] 
N"  123  "Q'  S"  M"  n"  g""  vipera 

Giovannj  di  b(er)nardo  dant°  scharpelino  popolo  "^ 

di  s°  lorezo  di  firenze  disse  la  graveza 

delaschala  1481  in  giovannj  detto 
Sustazie 
Una  1/2  chasa  posta  nel  p° (popolo)  di  s°  mjchele  bisdomjnj 
nela  via  de  servi  da  p*  via  s*  rede  di  s(er)  allesso 
1/3  frati  de  s.vi  1/4  la  quale  1/2  chasa  e  nel  q*  di  s°  go 
g*  vajo  e  ola  apigionata  a  mariotto  di  domenjcho 
ceraiuolo  di  detto  g*  e  q*  di  s°  go'  damene  lanno 

f  j  7  di  suge"  di  pigione f  7     15  — 

f  j  7  di  sugg° 

jcharichj 
Una  chasa  posta  nel  popolo  di  s°  lorezo  di 
fireze  dirinpetto  a  fulingnjo  da  p'  via  s" 
lucha  dant°  chalzolajo  1/3  b(er)nardo  (b(ar)biere  1/4  s* 
iachopo  la  quale  chasa  e  nel  q*  s"  maria  n' 
g*  vipera  tengcho  a  pigione  da  s'  maria  nova 
paghone  lanno  1  24  e  s  10  di  pigione 
Una  bottegcha  auso  di  scharpelino  posta  nel 
p°  di  s'  m"  del  fiore  e  posta  nela  via  de 
martegli  da  p"  via  s"  njcholo  marteglj  1/3  tanai 
de  medici  1/4  jachopo  de  medici  laqual  bottegcha 
tengcho  a  pigione  da  tanai  de  medici  q*  s" 

g*  g  lion  doro  pagchone  lanno  1  50  di  pigione  f  

Un  pezo  diterra  lavoratia  di  staiora  j"  jncircha 
posto  nel  p(o)p(o)lo  di  sanlor"  di  firenze  da  p' 
b.  n°(bernardo)  diac(op)o  chjmentj  barbiere  1/2  benj 
di  sant"  ant"  1/3  sa jachopo  i  champo  chorbolinj 
1/4  benj  dj  sant°  ant"  1/5  faenza  ho  piu  altrj  verj 


xxvi  BENEDETTO  AND  SANTI  BUGLIONI 

chofinj  tengholo  afitto  da  m(messer)  giovanbatista 

maneglj  chavaliere  dj  sajachopo  e  paghone  lanno  dj  fitto 

1  cinque  p(icciolj)  coe  1  5  - 

[A.  di  S.,  Archiv.  delle  Decime  1498,  Quart.  S.  M'  Novella,  Gonf.  Vipera 
Filza  10  c.  339;  published  in  L'Arte,  XXII  (1919),  106-107.] 

11.  Benedetto  Buglioni,  imprisoned  in  Perugia  for  debt  to  Lodovico 
di  Benigno,  ironsmith,  is  freed  on  bail  furnished  by  Silvestro  degli  Ubaldi 
and  Bernardino  di  Niccolo. 

"13  ott.  1488. 
Cinque  giorni  innanzi  al  notato  pagamento,  il  notaro  lacopo  di  Paolino 
stipulava  un  atto  col  quale  magister  henedictiis  lohannis  lapicida  florentinus, 
imprigionato  per  debito  ad  istanza  di  Lodovico  di  Benigno  fabbro  ferraio, 
volendo  assicurare  il  suo  creditore,  e  liberarsi  dal  carcere  promette  indica- 
tum  solvendo  solvere,  e  gli  entrano  mallevaderi  il  nobil  uomo  silvestro  degli 
Ubaldi  e  I'orafo  Bernardino  di  Niccolo"  {^Bast.  dal  i486  al  1^0^  c.  154*; 
A.  Rossi,  Gior.  Enid,  artist.,  II  (1873),  251,  note  2.] 

12.  Benedetto  Buglioni  marries  Lisabetta  Mori  on  August  21,  1489. 
"Lisabetta  el  sechondo  Jachopa  dj  nicholo  di  mariano 

di  piero  Moro  borsaio  e  di  m'  tita  sua  donna 
e  fig'"  di  s(er)  bartolomeo  di  bonaiuto  nata  adj 
5  di  feb(r)aio  1468  de  ave(re)  adj  17  di  setteb(r)e 
1487  f  ccl  sxj  dj  I  aoro  larghi  p(er)  f  45.  2  larghi 
contanti  p(er)  v" (valuta)  di  f  205  di  m"(moneta) 
a  22  p(er)  c"  che  m(esser)  trofilo  di  m(esser)  franc" 
chalchagnj  p''(promut6)  nel  comune  adj  16  di 

sette(n)b(r)e  1472  p(er)  anni  15 larghi  f  250 

An(n)e  avuto  adj  21  dj  aghosto  1489*  f  sessanta 
dua  s  xij  dj  viiij  larghj  p(er)  0/4  (quarto)  p(er)  lui  a 
Benedetto  di  Giovan(n)j  schultore  suo  marito 

avutj  da  Nicholo  Machiavellj  K°(kamerario)  al  mote  -  -     f    62  s  12  dj  9 
posto  benedetto  suo  marito  allib(r)o  B°( Bianco) 

no  Ite(non  andate)  a  7  p(er)  c°  c  734    ■ —    —  f  187  .   18  .    7 

f  250.11. i" 

[Archiv.  di  Stato,  Ufficio  del  Monte  delle  Doti,  Libro  Nero,  1471-1497, 
Cartapecora  segnato  N°  13,  c.  60;  published  in  L'Arte,  XXII  (1919),  108.] 

*  date  of  marriage. 

13.  Benedetto  Buglioni  one  of  the  commissioners  to  select  a  site  for 

Michelangelo's  David.     Jan.  25,  1504. 
"Die  25  mesis  eiusdem  (Januarij  1503  (o.  s.) 
pfati  op.ari  ope  pdicte  etc  Viso  qualiter  statua  vl(vel) 


BENEDETTO  AND  SANTI  BUGLIONI  xxvii 

seu  David  est  qi  finita  et  desiderantes 
earn  locare  et  eidem  dare  locum  commodum 
et  congruum  et  tale  (sic)  locum  tempore 
quo  debet  micti  et  mictenda  est  in  tali  loco 
essere  dictum  locum  solidum  et  resolidatum  ex 
relatu  Michelangeli  magistri  dicti  gigantis  et 
consulum  artis  lane  et  desiderantes  tale  consulum 
micti  ad  effectum  modum  predictum  omni  modo 
et  per  tres  fabas  etc  deliberaverunt  etc  convocari 
etc  coadunari  ad  hoc  ne  eligari  etc  dictos 
magistros  homines  etc  et  architectores  etc  et 
quorum  nomina  specialiter  et  vulgariter  notata 
et  primo  etc  et  eorum  dicta  adnotare  de  verbo  ad 
verbum. 

Andrea  della  robbia 

Betto  buglione 

Giovanni  comuole 

&c.  &c.  (complete  list  given  by  Milanesi,  Lettere  di  Michel- 
angelo, 620  note  I ) . 
Compareverunt  dicti  omnes  supra  nominati  in 
residentia  dicte  opere  et  tanquam  moniti  et 
advocati  a  dictis  operariis  ad  perhibendum  etc 
et  deferendum  eorum  dictum  etc  et  locum 
dandum  ubi  et  in  quo  ponenda  est  dicta 
statua  etc  et  primo  narrando  de  verbo  ad 
verbum  prout  retulerunt  ex  ore  proprio 
vulgariter  etc." 

[Archivio  dell'  Opera  di  santa  Maria  del  Fiore,  Libro  delle  Deliberazioni, 
1496-1507,  c.  71 ;  Gaye,  II,  455-456  (Doc.)  ;  Gotti,  I,  28;  Milanesi,  Lettere 
di  Michelangelo,  620  note  i  (Doc);  Vas.  II,  185  note  i,  VII,  346-347; 
Neumann,  Rep.  f.  K.,  XXXVIII  (1915),  1-27.] 

14.     Benedetto  Buglioni  rents  the  house  in  Via  Campo  Corbolini  (now 
Via  Faenza). 
"  +  Mdx  "  +  Mdx 

Benedetto  dj  Giovannj  di  Bernardo      Benedetto  di  Giovanni  di  Bernardo 
dantonio  ischutore  a  p(er)  linea  maschu-dant°  iscutore  avere  adj  xj  dj 
lina  et  sotto  istatj  benj  et  danne  maggio  1510  f  uno  doro  inoro  r°(rech6) 

lanno  1  xxiiij  et  j°  paio  di  polastre  luj  detto  a  franc"  Cei  p(er)  valuta  di 

paghando  dj  vj  mesj  in  6  mesj  coe  paia  x  dipolastre  aentrata  s*°c  c  79 

una  chasa  chon  sua  abiturj  et  in  c"'(capponi).  f  -  -  1  -  paia  10  p' 

partinezie  (appartenenze)  posta  jn  (polastre) 


xxviii  BENEDETTO  AND  SANTI  BUGLIONI 

via  champo  charbolinj  (now  via 

Faenza)  et  pp°  di  sant°  L°  la  quale 

vene  a  questo  ispedale  p(er)  donazione 

fatta  a  q(u)esto  isp*  p(er)  Andrea 

dagnolo  nutinj  lanno  1458 

chonfinata  a  p(r)imo  via 

E  dj  tutto  apare  charta  p(er) 

mano  dj  Giovanni  Daromena 

sotto  dj  12  dj  settebre  1489 

et  istando  2  annj  no  paghj 

richade  chome  apare  alibro 

pigionj  e  fitj  s*°  A  c  4  douue 

(dov'e)  fatto  debitore  p(er) 

tutto  ap(ri)le  15 10  resta  a  dare 

f  iiij  doro  inoro  s  ij  (error) 

dj  8  aentrata(  ?)  et  paia  Sj4 

di  K'(Kapponi)  ---£41-18  -  8  paia  8^" 

[Arch,  del  R.  Arcispedale  di  S.  Maria  Nuova,  Libro  Fitti  e  Livelli  B, 
1510-1520  c.  II*  e  12;  published  in  L'Arte,  XXI  (1918),  194.] 

15.     Lisabetta's  dowry  and  Benedetto's  death. 
"+Yhs  MDXIIIJ" 

Benedetto  di  giovani  di  b(er)nardo  Buglioni  de  a(ver)e 
adi  vij  di  luglio  1514  f  cietootanzette  sxviij  dj  iiij 
r(larghi)  p(er)  dota  dela  lizabetta  di  nicholo  di  mariano 
di  piero  sua  don(n)a  guadagnati  adi  22  dagosto  1489  levati 
dalab(r)o  nero  da  4  p(er)  c°(cento)  s'"  f.  c  126  e  dal  ritratto 
c  89  -  f  187  .  18.  4 

No  son  licenziati  ' 

+     Mori  benedetto  sop(r)addetto  fino  addi  vii  di  m(ar)zo  1520 
fede  p(er)  mano  di  pete  br""  (prete  bartolomeo)  di  michele 
pete  i  sa  T  (san  lorenzo)  di  firenze  iscritta  p(er)  2 
testimoni. 

Mariano  dinnicholo  mori  churatore  della  sop(r)ascritta 
m"  lixabetta  fece  fine  alleredj  di  detto  benedetto 
fu  suo  marito  p(er)  la  som(m)a  di  f  187.  18.  4  T  da  7  p(er)  c° 
p(er)  p(ar)te  di  sua  dota  c"  di  detta  fine  p(er)  mano  di  s(er) 
ant"  paretj  sotto  di  xxvii  daghosto  1522  e  fede  di 
detta  chura  p(er)  detto  s(er)  ant"  i  siem(e)  fatta" 

[Arch,  di  Stato,  Ufficio  del  Monte  da  7%,  Libro  Deb.  e  Cred.  C. 
1514-1515,  filza  976,  c.  162.] 


BENEDETTO  AND  SANTI  BUGLIONI  xxix 

1 6.  Burial  of  Benedetto  Buglioni  in  S.  Lorenzo. 

"Marzo.  +  Mdxx  (Florentine  style) 

Betto  buglione  Schultore  R°(recato)  in  san  r(lorenzo)  —  adj  8" 

[Archiv.  di  Stato.     Ufficio  della  Grascia,  Libro  dei  Morti,  1506- 
1560,  c.  39i\] 

17.  Concerning  Lisabetta's  dowry. 

"+  yhs  MDXXIII 
Benedetto  di  gov"'  di  B(er)nardo  Buglione  de  av(er)e  addi  XII  di 
m(ar)zo  1523  f  centootta(nta)sette  larghi  s  xviii  dj  iiii  r(larghi) 
dota     guadagnati  adi  xxii  daghosto  1489  p(er)  dota  della  lixabetta  di 
nicholo  di  mariano  di  p'°(piero)  sua  don(n)a  lev*^(levatj) 

dal(i)bro  rosso  c c  162  f  187  18  4 

sono  licenziatj 
+     Mori  detto  benedetto  fino  lan(n)o  1520 
Mariano  di  nicholo  mori  churat(ore) 
della  sop(r)a  detta  m'  lixabetta  fece  fine  allerede 
di  detto  benedetto  fu  suo  marito  p(er)  detta  som(m)a 
di  f  187   18.  4  ch**(charta)  di  detta  fine  p(er)  mano  di 
s(er)  ant"  parentj  sotto  di  27  daghosto  1522  R'XRogito) 
di  detta  chura  p(er)  detto  s(er)  ant° 
+     Nota  che  mariano  morj  churato*  di  sop(r)a  e  morto 

et  alessandr"  di  nic"  di  mariano  morj  suo  fratello  p(r)ese 

la  chura  di  detta  m*  lixabetta  c (hart) a  di  chura  p(er)  m(messer) 

chimentj  di  govabat*  Ruffolj  sotto  suo  dj  c"  di  sentenzia 

e  chura  p(er)  m.  mariano  darichanatj  judice  de  quartierj 

di  santo  sp°  e  santa  +(croce)  della  cipta  di  firenze  sotto 

dj  23  di  genaio  1525  e  cosj  glj  dette  autorita  di 

Rischuotere  le  paghe  ghuadagnate  e  daghuadagnarsj 

Addi  14  di  feb(r)aio  1529  poste  codiz""  delle  p"  (paghe) 

di  f  187    s  18  4  Ij  che  dom""  di  dom"(domenicho) 

mori  e  zanobi  diguliano  mori  e  santi  di  michele 

schultore  e  ciaschuno  i  tutto  le  piglino  da  oggi 

a  anni  15  coe  paghe  45  di  r(licenza)  di  dom"  di 

dom"  morj  p(r)ochuratore  di  s(er)  mariano  di  moro  di 

mariano  morj  churatore  di  m'  lixabetta  mentechata 

(pazza)  chodiz"(chondizionara)  detta  m'  lixabetta  1 

detto  credito  p(er)  le  sue  Rago(ni)  dotal j  mediante 

la  mte(morte)  di  detto  benedetto  ellafine  p(er)  lei  fatta 

aglj  eredj  di  detto  benedetto  charta  di  fine  p(er)  s(er)  ant" 

parentj  addi  27  daghosto  1522  charta  dj  chura 

p(er)  s(er)  ant"  detto  sotto  suo  dj  charta  di  p(r)ochura  p(er) 


XXX  BENEDETTO  AND  SANTI  BUGLIONI 

s(er)  bastiano  di  s(er)  charlo  da  firenzuola  addj  9  di 
giugno  1529  —" 

[Archiv.  di  stato,  Ufficio  del  Monte  da  7%,  Libro  I,  1523- 1524, 
c.  566;  published  in  UArte,  XXII  (1919),  108.] 

18.     The  house  occupied  by  Benedetto  taken  over  by  Santi  Buglioni. 
"+  MDXXIJ 

Benedetto  di  giovanni  di  bernardo  dantonio  ischultore 

et  altri ' 

una  chasa  con  sua  abiturj  et  appartenenzie  posta  in 
Canpo  corbolinj   .... 


Daddj  prjmo  di  novembre  1525  chome  di  sopra  lib. 
cinquantaquatro  sol.  13  den.  4  di  piccioli;  et  sono  per  la 
pigione  dj  mesj  quatro  e  dj  21  (  ?).    Oltre  al  fitto  corso 
delle  lib.  24  lanno  che  sono  doppo  la  morte  dj  messer 
sano  bochonj  che  morj  di  settenbre  1524  et  dachordo  questo 
di  come  di  sopra  chon  santi  di  michele  (these  four  words 
written  and  cancelled         ....  f.  7  1  5.    13.  4. 

(In  margine :  posto  a  Fitti  segnato  d  c.  78.) 
Oggi  questo  dj  4  di  novenbre  1525  la  chondotta  santj  di 
michele  di  santj  schultore  per  duchatj  x  doro  lanno 
et  paja  uno  di  chapponj  dachomjncjarsi  adj  prjmo 
di  novenbre  1525  passato  carta  per  mano  di  ser  alfonso 
corsi  dappacharsi  in  sej  mesj  la  rata  che  tocha 
66.  6.  2  o  paia  i6>^" 

[Arch,  del  R.  Arcispedale  di  S.  Maria  Nuova,  Libro  Fitti  e  Livelli  C, 
1517-1525,  c.  291 ;  published  in  L'Arte,  XXI  (1918),  195.] 

19.     Concerning  rental  by  Santi  Buglioni. 
"+  MDXXIJ 
Benedetto  di  giovanni  di  bernardo  et  altrj  di  chontro 
anno  avere   . . . 


R(icord)o  E  avere  ducati  cinque  doro  in  oro  et  lib.  3.  5.  10 

piccioli  et  paja  163^  di  capponj  per  resto  di  questo 

conto  debitore  in  conto  di  santi  di  michele  a  Libro 

Pigioni  et  Fittj  D  c.  72  . .  . .  D.  5  1.  3,  5,  11°  paia  16^ 

661.  6.  2.  o.  16^, 

[Archiv.  idem,  Libro  Fitti  e  Livelli  C.  1517-1525,  c.  291;  published  in 
L'Arte,XXl  (1918),  195.] 


BENEDETTO  AND  SANTI  BUGLIONI  xxxi 

20.     Concerning  the  sale  of  the  house  in  the  Campo  Corbolini. 
"+  MDXXVJ 
Santj  di  Michele  dj  ....  schultore  a  chondotto  da  noj  le  sotto  schrittj 
benj  qui  appie  appigione  una  chasa  chon  sua  abiturj   .  .  . 


E  per  mesj  tre  finitj  addj  ultimo  di  giennaio  1 529  lib.  dicasette 

sol.  10  piccioli  coe  —      F.  2      lib.  3    sol.  10  dj  paia. 

Venduta  a  Berto  di  Bernardo  Chalvellj  addj  . . .  di  gennaio  1 529  chontratto 

per  Ser  Rafaello  Baldesj." 

[Arch,  idem,  Libro  Fitti  e  Livelli,  D.,  1 523-1 533,  c.  78;  published  in 
L'Arte,  XXI  (1918),  195.] 

21.     Continuation  of  the  account. 

"+YHS  M''[Marie]  MDXXXIIIJ 
R(icord)o  Santj  di  Michele  schultore  de  dare  per  tantj  posto  debbj 
avere  in  questo  c.  25  per  resto  di  quel  chontto  —    25  F.,  2.0. 11  paia 

20^    capon j." 
[Arch,  idem,  Libro  Fitti  e  Livelli,  E.,  1532-1551,  c.  114;  published  in 
UArte,  XXI  (1918),  195.] 

22.  Death  of  Lisabetta,  May  31,  1531. 

"Maggio  M  •  D  •  XXXJ 
M"  lisabetta  don(n)a  fu  di  beto  bulonj  -  Adi  31 
R(ecat)a  in  S*°  Jac(op)o  Sop(r)  arno" 

[Archiv.  di  Stato,  Arte  de'  Medici  e  Speziali,  Libro  de'  Morti   1530- 
1543,  segnato  Arti  6,  Cod.  250;  pubhshed  in  L'Arte,  XXII  (1919),  108.] 

23.  Mariano  Mori  heir  to  Lisabetta's  property. 

"+  MDXXXIIIJ 
Benedetto  dj  Giovannj  dj  bern°  buglionj  de  avere 
addj  9  dj  marzo  1534  f  cento  ottanzette  s  vxiij 
dj  iiij°  g*'(guadagnati)  addj  22  dagghosto  1489  levatj 

a  suo  chonto  dallib(r)o  Rosso  s'°  F.  c.  566 f  187.  18.  4 

Sono  p(er)  dota  dj  m   lisabetta  dj  nicholo  dj  mariano 
et  sua  donna 


che  Domenic"  di  domenic"  morj  et  zanobj  di 
Gur°(Giuliano)  morj  e  santi  di  michele  schultore 
caschuno  di  loro  in  tutto  piglino  le  p''(paghe)  dj 
detto  chredito  tutto  dicemb(r)e  1544 
Ap(ar)tenghono  a  Mariano  dj  Alexadro  dj  nicholo 
Morj  erede  in  tutto  abintestato  della  sopra  scritta 
m"  lisabetta  sua  zia  paterna  c(ar)ta  di  aprensione 


xxxii  BENEDETTO  AND  SANTI  BUGLIONI 

dj  eredita  p(er)  s(er)  Matteo  da  falghano  q°  dj  30 
dj  Giugnio  1545  p(er)  avere  detto  s(er)  Matteo  examinato 
i  testimoni  di  detta  morte  e  no  sop(ra)  esistentia  di         ^ 
altrj  che  di  detto  mariano  detto  dj. 

[A.  di  S.,  Ufficio  del  Monte  da  7%,  Lib.  Deb.  e  Cred.  S,  1534-1535,  c. 
148,  published  in  L'Arte,  XXII  (1919),  108.] 

24.     Concerning  Lisabetta's  dowry. 
"+yhs  .  . 
Benedetto  di  G"^  dicotro  de  dare  addj  13  dj 
Giugnio  1547  f  cento  ottanta  sette  s  xviij  dj  iiij  larghi 
p(er)  luj  a  Marg*'  di  G"^  ghuidetti  avere  al(i)b(r)o  f 
c.  104  di  licentia  di  Mariano  di  Alex"  Morj  nipote 
et  rede  in  tutto  abintestato  dj  m"  lisabetta  sua 
zia  paterna  morta  senza  lassare  dopo  di  se  figli 
p(er)  examina  dj  testimonj  di  detta  Morte  et  no  supra 
esisentia  e  come  credito  a  lej  attenete  come  di 
cotro  c(ar)ta  di  tutto  come  di  cotro  alq"°  a  f.  27^  c.  16.  .  .  .f  187.18. 4" 

"+  MDXXXXVJ 
Benedetto  di  Giovannj  di  Bernardo  Buglione  de 
avere  adj  6  dottobre  1546  f  cento  ottanzette  s  xviij 
dj  iiij  larghi  guadagnati  e  levati  di  suo  conto 

dalib(r)o  S  c.  148  ■ f  187.18.4 

Sono  p(er)  dota  della  lisabetta 


Mori  la  detta  m'  lisabetta  sanza  lasare  fig" 

p(er)  esamina  di  testimoni  R"'(Rogato)  s(er)  matteo 

di  falgchano  adj  30  di  giugnio  1545  e  mariano 

dalesandro  dant°  mori  p(r)ese  la  sua 

Red*'  i  tutto  di  m'  lisabetta  sua  zia 

paterna  abintestato  R(oga)to  s(er)  matteo  detto  detto 

dj" 

[A.  di  S.,  Ufficio  del  Monte  da  4%,  Lib.  Deb.  e  Cred.  E.,  1 546-1 547, 
c.  330;  published  in  L'Arte,  XXII  (1919),  109.] 


SANTI  BUGLIONI 
I.     Biographical. 

Santi  Buglioni  is  described  by  Vasari  (VI,  276)  as  having  received  from 
Benedetto  Buglioni  the  secret  of  glazing  terra-cotta,  and  as  being  in  his 
day  the  only  one  who  practised  that  kind  of  sculpture.  He  was  the  pupil 
and  successor,  not,  as  was  once  supposed,  the  son  of  Benedetto  Buglioni. 


BENEDETTO  AND  SANTI  BUGLIONI  xxxiii 

He  was  born  on  Dec.  25,  1494  and  his  mother  Francesca  Mori  was  a  near 
relative  of  Lisabetta  Mori,  the  wife  of  Benedetto  Buglioni.  Hence  it  was 
natural  that  Santi  should  have  become  in  15 13  a  ward  and  pupil  of  his 
distinguished  relative. 

Thanks  to  the  researches  of  Mr.  Rufus  G.  Mather,  the  genealogy  of  Santi 
Buglioni  is  now  well  established,  as  may  be  seen  in  the  following  table.  He 
belonged  to  a  family  in  which  with  monotonous  regularity  the  name  Santi 
alternated  with  that  of  Michele.  Genealogically,  he  may  be  described  as 
Santi  di  Michele  di  Santi  di  Michele  di  Santi  di  Michele.  How  much 
farther  back  this  alternation  of  names  may  have  occurred  we  do  not  know. 
So  far  as  our  table  goes  Santi  and  his  father  Michele  were  the  third  to 
bear  those  names  and  hence  may  be  distinguished  as  Santi  HI  di  Michele 
HI.  Two  of  Santi's  brothers  went  into  religious  orders;  he  himself  be- 
came a  sculptor.  His  ancestors  had  not  risen  high  socially.  His  father 
was  a  maker  or  dealer  in  ropes  (funaiolo),  and  for  three  generations 
farther  back  his  forefathers  were  blacksmiths  (maniscalchi).  If  we  ex- 
amine the  tax  returns  (Docs,  i-io)  of  his  ancestors  we  shall  find  the  rec- 
ords of  a  family  of  small  possessions  plying  humble  callings,  not  to  be  con- 
fused with  the  idle  aristocracy  of  Florence.  Santi  Buglioni's  mother 
brought  to  her  husband  a  dowry  of  166  florins  and  4  denari,  which  was 
deposited  in  the  bank  at  4%  interest  and  could  not  be  withdrawn  except  on 
certain  conditions.  These  documents  (nos.  11-16)  may  not  prove  uninter- 
esting as  throwing  light  on  the  finances  of  the  family.  It  was  due,  how- 
ever, to  his  own  struggles  rather  than  to  his  inheritance  that  Santi  Buglioni 
was  enabled  to  move  in  1526  from  the  'chasetta'  in  the  Via  di  S.  Giorgio  to 
the  larger  house  in  the  Via  Campo  Corbolini  (now  Via  Faenza),  occupied 
for  several  years  by  Benedetto  Buglioni  and  his  family  (Doc.  14).  The 
accounts  of  Santi  Buglioni  with  the  Accademia  del  Disegno  (Docs.  17-21) 
appear  to  record  not  only  the  payment  of  dues  and  other  trifles,  but  also 
reveal  the  fact  that  he  officiated  as  treasurer  or  at  least  as  auditor  of  the 
accounts  of  that  organization. 

His  wife  Francesca  di  Dionigi  di  Simone,  nine  years  his  junior,  was  his 
companion  for  nearly  forty  years.  She  died  in  1566.  Santi  lingered  on, 
broken  in  body  as  well  as  spirit,  and  blind,  until  released  by  death  Nov.  27, 
1576.  It  may  be  noted  that  in  the  Book  of  the  Dead  his  wife  is  recorded 
as  Madonna  Francesca  di  Santi  Buglioni  (Doc.  23),  whereas  ten  years  later 
his  adopted  name  Buglioni  disappears  and  he  is  recorded  as  Santi  di 
Michele  Viviani  (Doc.  24).  His  son  Michelangelo  and  his  daughter  Maria 
also  are  recorded  as  Viviani  (Doc.  25).  So  also  his  great-grandson  Vin- 
cenzo,  the  celebrated  mathematician,  pupil  and  biographer  of  Galileo. 


Genealogical  Table  of  Santi  Buglioni 

Michele   I, 

Santi  I,  Farrier 
b.  1354  or  1357 
d.  1427-1430 

married 
Mona  Mea    (Maria) 
b.  1368  or   1369 
d.  1433-1446 


Michele  II,  Farrier 

Francesco 

b.  1393  or  1395 

b.  1405 

d. 

d. 

married 

Mona  Sandra 

b.  1407  or   1408 

d.  I 446- 1457 

Brigida 

Santi  II,  Farrier 

Appolonia 

b.  1432 

b.  1433,  or  1434  or  1435 

b.  1435  or  1437 

I4i8(?) 

or  1426,  or  1432 

d.  after  1498 

married 
Mona  Margherita 
b.  1445  or  1446 
d.  after  1480 

Michele  III,  Ropemaker 

b.  1462  or  1466 

d.  1508 

married 
Francesa  di  Niccolo 
di  Piero  Mori,  Feb.  13,  1485 

' 

Santi  III,  Sculptor 

b.  Dec.  20,  1494 
d.  Nov.  27,  1576 
married 

Francesca   [di  Doni- 
gi    di    Simone,   funaiolo(?)] 

b.  Apr.  13,  1503 

d.  Aug.  5,   1566 


Francesco-Lorenzo 
b.  Oct.  21,  1500 
d. 
became  Frate 

Stefano  in  Santa 
Maria  dei  Servi 


Piero-Romolo 
b.  Apr.  29,  1503 


Niccolo-Romolo 
b.  June  I,  1507 
became  Dom.  Vittoi 
at  Vallombrosa. 


Lisabetta-Caterina 
b.  November  27,  1530 
d. 


Micheiangelo-Domenico,  Linen  Merchant  or  Sculptor  Maria-Cecilia 

b.  Mar.  16,  1533/4  b.  Nov.   21,   1538 
married  married 

Maddalena  di  Carlo  Jacopo  Fortini 

Brandolini 
d.  Mar.  14,  1583/4 


Santi  IV 
b.  Nov.  8,  1564 
d.  Mar.  26,  1605 

married 
Lucretia  di  Vincenzo 
Brancacci 


Jacopa  Francesca 
b.  Feb.  8,  1568/9 

married 
Ser  Piero  di  Ser 
Francesco  d'Albizzo 


Jacopo 
b.  Aug.  II,  1576 
d. 

married 
Maria  di  Ala- 
manna  del  Nente 


Porzia 
b.  Apr.  9,  1580 
d. 

married 
Alessandro  di 
Girolamo  Lapi 


Pietropagolo 
b. 
d.  Aug.  I,  1589 


Vincenzo 
scholar  of  Galileo 
b.  Apr.   5,   1622. 


BENEDETTO  AND  SANTI  BUGLIONI  xxxv 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

1.  Santi  Buglioni's  elder  brother  born,  1493 

"Febraio  1493  (Flor,  style) 
Sabato  adi  15  di  detto 
Santi  et  franc"  di  michele  di  santi  p(opol)o  di  s*  felicita 
naq.  adi  14  h5  17" 
[Archiv.  dell  Opera  di  S.  Maria  del  Fiore,  Libro  dei  Battezzati,  Maschi, 
1 492- 1 501,  c.  32*;  published  in  L'Arte,  XXI  (1918),  208.] 

2.  Santi  Buglioni's  elder  brother  dies  in  infancy,  1493. 

"  +  MCCCCLXXXXIIJ 
j°  figlolo  di  michele  di  santj  riposto  i  sata  felicita 
adi  26  febraio" 
[Archiv.  di  Stato,  Ufficio  della  Grascia,  Libro  dei  Morti,  145 7-1 506,  c. 
238*;  published  in  L'Arte,  XXI  (1919),  208.] 

3.  Santi  Buglioni  born,  Dec.  20,  1494. 

"  Dicembre  1494 
Sabato  adi  20  di  detto 
Santi  et  Thomaso  di  michele  di  santi  p°  di  s*  felicita 
naq.  adi  20  h5.  14  " 

[Archiv.  dell'  Opera  di  S.  Maria  del  Fiore,  Libro  dei  Battezzati,  Maschi, 
1492-1501,  c.  47;  published  in  L'Arte,  XXI  (1918),  208.] 

4.  Birth  of  Francesco-Lorenzo,  1500. 

"OCTOBRE  MCCCCC 
MERCHOLEDI  adi  21 
Franc"  e  lorenzo  di  Michele  di  sanctj 
di  Mich(e)le  di  sanctj  p°  di  s"  felicita 
N.(acque)  adj  21  h. (ore)  2" 

[Archivio  dell'  Opera  di  Santa  Maria  del  Fiore,  Libro  dei  Battezzati 
1492-1501,  c.  140*.] 

5.  Birth  of  Piero-Romolo,  1503. 

"APRILE  MCCCCCIII 
Domec'  Adj  30 
Piero  e  Ro(mo)lo  di  michele  di  sanctj 
funaiuolo  p.  di  s"  felicita  N.  adj  29  hor  16" 

[Archiv.  idem,  Libro  dei  Battezzati,  Maschi  150-1511,  c.  24*.] 

6.  Birth  of  Niccolo-Romolo,  1507. 

"MARTEDI  ADDI  p"  DI  GIUGNIO  MCCCCCVII 


xxxvi  BENEDETTO  AND  SANTI  BUGLIONI 

Mercholedi  Addj  2 
Nicholo  e  Ro(mo)lo  Dimichele  di  sanctj  di 
michele  funaiuolo  p.  di  s"  felicita  N.  adj  p°  he  24" 
[Archiv.  idem,  Cod.  idem,  c.  91'.] 

7.  Birth  of  Lisabetta-Caterina,  1530. 

"Novembre  et  Dicembre  MDXXX 
Lunedi  Adi  XXIIJ  (Novembre) 
Lisabetta  caterina  et  R"'(Romola)  di  sancti  di 
michele  scultore  p°  di  s°  jac°  soprarno  N.  Adi  detto  h.  18" 

[Archivio  dell'  Opera  di  Santa  Maria  del  Fiore,  Lib.  de'  Batt.  Femmine, 
1522-1532.] 

8.  Birth  of  Michelangelo-Domenico,  1533-4. 

"Marzo  MDXXXIII 
LUNEDI  ADI  XVII  Detto 
Michelagnelo  dnico  (domenico)  et  Romolo  di  Saiitj  di 
michele  di  santj  schultore  p.  di  s.  jac°  sopra  arno 
N  adj  XV j  h.  xix," 

[Archiv.  idem,  lib.  de'  Batt.  Maschi,  1533  c.  i.] 

9.  Birth  of  Maria-Cecilia,  1538. 

"+  NOVEMBRE  MDXXXVIIII 
DOMENICA  ADI  XXIII 
Maria  et  Cecilia  di  santj  di  michele  scultore  p.  di 
S.  jac°  soprarno  N  adj  xxj  h  xvi" 

[Archiv.  idem.  Lib.  d'Batt.,  Femmine,  1 533-1 542,  c.  30.] 

2.     Monuments  and  style. 

A  good  beginning  may  certainly  be  made  toward  restoring  the  artistic 
personality  of  Santi  di  Michele.  In  his  early  works  he  was  the  assistant 
and  pupil  of  Benedetto  Buglioni.  The  monuments  at  Badia  Tedalda  re- 
veal him  cooperating  with  Benedetto  in  the  Madonna  della  Cintola  (1521) 
and  as  an  independent  artist  in  the  altarpiece  of  the  Annunciation  and 
Saints  (1522).  After  the  death  of  Benedetto  Buglioni  the  young  Santi 
began  a  career  of  more  ambitious  works.  If  we  are  Correct  in  attributing 
to  him  the  Deeds  of  Mercy  on  the  Ceppo  Hospital  frieze,  the  mediocre 
ideals  of  Benedetto  Buglioni  were  in  great  measure  abandoned  and  were 
replaced  by  those  of  Michelangelo  and  his  pupil  Tribolo.  By  1539  he  as- 
sisted il  Tribolo  in  constructing  a  temporary  equestrian  statue  of  Giovanni 
della  Bande  Nere,  on  which  occasion  he  fell  and  maimed  himself  for  life. 
He  was  also  associated  with  Lorenzo  Marignolli  in  making  a  series  of 
heads  for  Eleonora  di  Toledo,  wife  of  the  Grand  Duke  Cosimo  I.  For  the 
Medici  family  he  also  made  a  series  of  pavements   (i  549-1 572)   for  the 


BENEDETTO  AND  SANTI  BUGLIONI  xxxvii 

Biblioteca  Laurenziana,  the  Palazzo  Vecchio,  and  for  the  grottoes  of  the 
Pitti  Palace.  The  publication  of  these  documents,  discovered  for  the  most 
part  by  Mr.  Rufus  G.  Mather,  may  be  reckoned  a  not  unimportant  contri- 
bution to  the  history  of  art.  In  spite  of  his  infirmity  he  took  part  in  the 
celebration  of  the  obsequies  of  Michelangelo  in  1564,  and  in  the  elaborate 
festival  in  honor  of  the  marriage  of  Francesco  I,  son  and  successor  of  the 
Grand  Duke  Cosimo  I. 

The  general  catalogue  will  present  a  list  of  Santi's  works,  documented 
and  undocumented.  However,  it  may  be  convenient  to  mention  here  the 
dated  monuments  which  form  the  bases  of  a  chronological  study  of  his 
work. 

1 52 1.  Madonna  della  Cintola,  also  a  Ciborio,  Badia  Tedalda. 

1522.  Annunciation  and  Saints,  Badia  Tedalda. 

1 526-1 528.    Ceppo  Hospital,  Frieze,  Virtues,  and  Sirens,  Pistoia. 
1 53 1.    Madonna  enthroned  with  Saints,  Stia.     Dated,  not  documented. 
1539.    In  part.  Equestrian  Statue  of  Giovanni  delle  Bande  Nere,  Florence. 
1542.  In  part,  Ten  heads  for  Eleonora  di  Toledo,  Naples. 
1546.    Several  figurines,  saints  (?),  SS.  Annunziata,  Florence. 
1549-60.    Pavements  for  the  Biblioteca  Laurenziana,  the  Palazzo  Vecchio 
and  the  grottoes  of  the  Pitti  Palace  Gardens. 

1564.  Relief  Portraits  of  Michelangelo,  S.  Lorenzo,  Florence. 

1565.  Putti,  Capricorni,  heads,  Palazzo  Vecchio,  Florence. 

Other  undocumented  and  undated  works  have  been  attributed  to  Santi 
Buglioni  and  assigned  a  place  in  the  chronological  series. 

3.     List  of  documents. 

Tax  return  of  Santi  I  di  Michele,  Farrier,  1427, 

Tax  return  of  Santi  I  di  Michele,  Farrier,  1427. 

Tax  return  of  Michele  II  and  Francesco  di  Santi,  Farrier,  1430. 

Tax  return  of  Michele  II  and  Francesco  di  Santi,  Farrier,  1433. 

Tax  return  of  Michele  di  Santi,  Farrier,  1444. 

Tax  return  of  Michele  II  di  Santi  di  Michele,  Farrier,  1457. 

Tax  return  of  Santi  II  di  Michele  di  Santi  di  Michele,  Farrier,  1469. 

Tax  return  of  Santi  II  di  Michele,  Farrier,  1480. 

Tax  return  of  Michele  III  di  Santi,  Ropemaker,  1495  or  1498. 

Tax  return  of  Santi  III  di  Michele  di  Santi,  Sculptor,  1532. 

Michele  III,  Ropemaker,  is  credited  with  his  wife's  dowry,  1491. 

Michele  Ill's  indebtedness  to  Benedetto  Buglioni,  the  guardian  of 

his  children,  15 13. 
Three  of  Michele  Ill's  sons,  Santi,  Francesco,  and  Piero  to  receive 

their  inheritance  from  their  mother. 
Santi  Buglioni  rents  the  house  in  the  Via  Campo  Corbolini,  1526. 


9 
10 
II 

12 

13 
14 


xxxviii  BENEDETTO  AND  SANTI  BUGLIONI 

15.  Concerning  rental,  1525. 

16.  Lisabetta  di  Santi  Buglioni  to  receive  the  share  which  Niccolo  di 

Michele  inherited  from  his  mother. 

17.  Lisabetta's  inheritance  subject  to  certain  conditions. 

18.  Santi  Bughoni's  accounts  with  the  Accademia  del  Disegno,  1538. 

19.  Continuation  of  the  same,  1539. 

20.  Continuation  of  the  same,  1562- 1574. 

21.  Revision  of  the  accounts  of  the  Accademia  by  Santi  Buglioni  and 

others,  1 563-1 567. 

22.  Accounts  of  Santi  Buglioni  with  the  Accademia,  1 568-1 577. 

2}^.     Accounts  of  Santi  Buglioni  with  S.  Maria  Nuova  for  rental  of 
house,  1533-1534- 

24.  Santi  Buglioni  absolved  from  dues  to  the  Academy,  1575. 

25.  Death  of  Madonna  Francesca,  wife  of  Santi  Buglioni,  1566. 

26.  Death  of  Santi  Buglioni,  1576. 

27.  Accounts  of  Michelango  di   Santi   and  his   sister   Maria  Fortini, 

1 576-1 606. 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

I.     Tax  return  of  Santi  I,  di  Michele,  1427. 
200  "Al  nome  di  dio  ame 

Dinanzi  a  voi  honorevolj  uficialj  del  chatasto 

p(er)  lo  coe  (comune)  di  firenze 

Qui  da  pie  sono  le  sustanze  e  benj  dj 

Santj  di  Michele  Malischalcho  del 

gonfalone  del  nicchio  Q"  di  sco  spo 

E  prima  debitor]  del  detto  Santj  da  chj 

debbe  avere  le  Ifrascritte  quatita  di  danarj 

Antonio  dj  Jachopo  chanigianj  e  Cop  f  ventitre  —        f  23  — 

E  diecj  del  bancho  overo  diecj  della  balia  p(er)  resto 

di  salario  di  Michele  suo  figluolo  che 

ando  i  lonbardia  a  f ermare  soldatj  lib  ottanta  —  f  —  lib.  80 

la  camera  del  coe  di  firenze  f  cinque  p(er) 

salario  di  santj  Manischalcho  della  codocta  —  f  v  — 

Mariotto  di  messer  albizo  de  Rossj  lib  ventj  —  f  -  lib.  20 

Rede  di  guglielmo  di  giuliano  lib  quactro f  -  lib.    4 

Tomaso  barbadoro  e  checho  suo  lavoratore  p(er) 

letame  della  stalla  lib.  diecj       f  -  lib.  10 

Messer  francescho  Machiavellj  p(er)  ferrj  lib  sej  sol  tre 

f  -  lib.  6  sol.    3 

Bartolomeo  chorbinellj  p(er)  ferrj  lib  quactro  sol  diecj 
■  .  f  -  lib.  4  sol.  10 


BENEDETTO  AND  SANTI  BUGLIONI 
Piero  di  messer  luigj  guiccardinj  p(er)  ferrj  lib  cinque 


XXXIX 


Batista  guiccardinj  p(er)  ferrj  lib  octo 

E  piu  a  el  decto  santj  tra  i  masserizie  e 
merchatantie  della  bottegha  la  quale  fa  da 
malischalcho  i  su  la  piaza  di  sea  felicita 

fior  trenta    

debitj  del  decto  santj  e  a  chj  de  dare 

le  quatita  i  frascritte 

A  michele  di  jachopo  ferraiuolo  lib  cinquanta 

e  sol  diciotto  p(er)  ferro    — • 

al  Monistero  di  sea  felicita  de  dare  el 
dco  santj  p(er)  resto  dj  pigione  f  ventj 
E  piu  a  debito  col  coe  di  firenze  p(er) 

piu  prestanzonj    —   

El  decto  santj  tiene  a  pigione  dal 

Monistero  di  sea  felicita  una  chasa 

posta  i  sula  piaza  di  sea  felicita  la 

quale  habita  e  simile  la  bottegha 

paghane  di  pigione  del  tucto  lano 

fior  q(ui)ndicj  cioe  ' 


f-lib.5  — 
f  -  lib.  8  — 


f  30 


f  -  lib.  50  sol.  18 


f  20 


f    4 


fi5- 


famiglia  del  decto  santj 
santj  decto  deta  danj     —  73  ifermo  delle  ghambe 

Mona  Mea  sua  d(on)na  danj  58 

Michele  suo  figluolo  danj  32 

Mo  Sandra  d(on)na  di  Michele  danj  20 
francescho  figluolo  dj  santj  danj  22 

Brigida  figluola  di  Michele  danj  9(?) 

(On  the  back  of  page  1502) 
"Adi  10  dj  luglio  (1427) 
Wichio 

Santi  dj   Michele  malischalcho     -  f  i  sol.  2  dj.  i 
N'cS 

Messo  alib  440" 
[Archiv.  di  Stato,  Arch.  d.  Decime,  Catasto  1427,  Quartiere  di  Santo 
Spirito,  Gonf alone  Nicchio,  segnato  Cod.  18  c.  1501.] 

2.     Tax  return  of  Santi  I  di  Michele,  1427. 

This  is  another  version  slightly  different  from  the  preceding. 
"-f-  Mcccc°xxvj 
(In  margin:  Scripta  S  n°  8  444 — (H)0  fatto  p(er)  s  6) 
Sustanze  dj  Santj  di  michele  malischalcho  I  detto 


xl  BENEDETTO  AND  SANTI  BUGLIONI 

q*(quartiere)  e  ghofa    pplo  di  sata  felicita 
a  f  I  s  2  dj  I  a  oro 

d°(detto)  (h)a  a  dav(er)e 
da  antonio  di  jacopo  chanigiannj  e  cop(agni)  £23.  0.0 

da  X  del  bancho  ov(er)o  10  di  balia 
p(er)  R"  ( resto-may  also  be  K°  for  Konto)  di  salario 
dalla  chamera  del  chomnne  p(er)  salario  di  satj 
da  mariotto  di  messer  albizzo  de  rossj 
dalla  rede  di  ghuiglielmo  dj  giulia(no) 
da  tommaxo  barbadoro  et  il  suo  lavoratore 

da  messer  franc"  machiarellj       — ' 

da  bartolo  corbinellj  lib  4  s  10  v* (valuta) 

da  piero  di  messer  luigi  

da  batista  ghiiiccardini  lib.  8  v'  — ■ — 

Masserizie  et  merchantie  i  bottegha 

f  92.8.3 
Incharichi 
A  nicholo  di  jacopo  feraiuolo  lib.  50  s  18  di  pli(piccioli)v 
Al  munistero  di  santa  felicita  p(er)  R°  di  pigio(ne)    — 
Al  chomune  di  firenze  p(er)  p(re)stanze  


Issta  a  pigione  i  una  chasa  del  munistero  di 
sata  felicita  et  fane  bottegha  et  paghane 

land  f  15  Arbitrate  la  chasa  voj  p(er)  1/2  f  7  1/2  f —        f  107  S3  — 
Bocche 

Santj  di  michele  sopadett"  deta  dann j  yT,  f  200  — 

M"    Maria  sua  donna ■ —  dannj  58  f  200  — 

Michele  suo  figluolo dannj  32  f  200  > — 

M°    Sandra  sua  donna dannj  20  f  200  — 

franc"  di  santj dannj  22  f  200  — 

Brigita  di  michele dannj     i  f  200  — 

(Tax  figuration  added  by  clerk  of  Catasto) 
Somma  II  suo  valsente  qui  di  sop(r)a  —  f  92  s  8  di  3 

Abbattiamo  p(er)  i  creditori  qui  di  sop(r)a    —  f  143  s  17  di  6 

Abattiamo  p(er)  incharicho  di  6  bocche     f  1200 f  1343  s  17  di  6 

Manchalj  abattuta  la  sua  sustanza  f  mille  dugetocinqa  - 

tunc  s  viiij  dj  iij  A  oro 

compossto  dacordo  jn  s  sej  A  oro 
[Archivio  di   Stato,  Archivio  delle  Decime.  Catasto  del   1427  segnato 

cod.  65,  c.  440*.] 


t  20. 

0.0 

^  5- 

0.0 

f  5 

— 

— 

t  2. 

lO.O 

10.9 

2.6 

5-0 

f  2. 

0.0 

f  30. 

,  0.0 

£92. 

s8 

)v" 

f  12. 
f  20 

14.6 

t    4 

0. 

f36 

S14 

di6 

BENEDETTO  AND  SANTI  BUGLIONI  xli 

3.  Tax  return  of  Michele  II  and  Francesco  di  Santi,  1430. 

"Mccccxxx 
Sustanza  di 

Michele  e         figliuolj  funo(furono)  di  santj 
Francesco  malischalcho  pma(  prima)  era  al 

chatasto  i  Santj  i  sol,  6 
debitorj 
5  debitorj  chome  da  p.  la  schritta  m5(nta) 

fj  144  lib.  22  sol.  19  —    fj  149  sol.  14  dj    9 

Abiamo  piu  mas(er)izie  di  bottegha  p.  fj  30.  fj  30 

Soma  fj  179  sol.  14  dj  9 fj  179  sol.  14  dj    9 

Creditorj 
8  Creditori  chome  da  p.  la  schritta 

sua  mo f  j  54  lib.  76  sol.  12 

Tengnano  una  chasa  a  a  pig''(pigione) 

i  sula  piaza  di  santa  filicita  f  j.  73  sol.  3 

la  quale  a  dal  detto  munistero 

e  paghiane  lano  fj  15 

Abattesj  p.  la  bottegha  Boche  f  j  otto 

Resta  f  j  7  ■ — f  j  100 

Mo  Mea  nostra  madre     anj  62  f  j  200 

Michele  di  santj        anj  35  f  j  200 

Mo  Sandra  di  santj  anj  23  f  j  200 

Francescho  di  Santj  anj  25  f  j  200         f  j  800 

973-3 
della  sop(r)adetta  chasa  a  pigione 
sena  (sen'ha)  asbattere  qllo(quello) 
ne  tochasse  alia  bottegha  p.che  e 
1  sieme 

Soma  il  suo  valsente  chome  di  sop(r)a  si  vede  —  fj  174  sol.  14  d.  9 
Abattj  p.  jncharichj  e  boche  chome  di  sopa  si  vede  fj.  973  sol.  3 

Manchaglj  come  si  vede —  f  j  793  sol.  8  dj  3 

R.  Conposto  dachordo  i  sol.  4  —      cioe  —  sol.  iiij°" 

[Archivio  di  Stato,  Archivio  delle  Decime   1430,  Quartiere  di 
Santo  Spirito,  Gonfalone  Nicchio,  Campione  segnato  N°  8  c.  400.] 

4.  Tax  return  of  Michele  II  and  Francesco,  1433. 

R         "Michele  e        .  ...  .  „ 

P        o  dj  santj  dj  michele  manischalchj  sol.  liij 

j"  dificio  da  olio  posto  nel  chastello  di  linarj 
chon  suoj  chonfinj  detto  dificio  e  ghuasto 
p.  la  ghuera  ed  e  di  mo  mea  nostra  madre 
chesipuodjre  vale  q(u)asj  niente 


xlii  BENEDETTO  AND  SANTI  BUGLIONI 

Solevasj  avere  dj  fitto  ij  o  3  orcia  dolio 

lano  a  sol.  100  lcjo(rorcjo)  lib.  15  a  fj  7  p.  c° (cento)  fj  55  sol.  ij  dj  8 

Danarj  di  monte 
f  j  40J  dj  mote  chomune  —  a  f  j  33  1/3  p.  c° ' —    f  j  133  sol.  13  dj  14 
e  piu  dobiamo  avere  \t  paghe  di  magio  dj  dettj  dj  f  j  5  -  f  j    5 

e  piu  citroviamo  tante  maserizie  che  vagliono     fj  18-  fj  18 

e  piu  debbo  avere  dachatj  (d'acchatti)  —  f  j  -  lib.  7  sol.  5  -  f  j  i  sol.  16 
e  piu  dj  pagahatj  circha  20  o  30  lib.  a  f  j.  20  p.  c  —         f  j  6  sol.  — 

debitorj 
Rede  e  benj  di  zanobj  dj  benedetto  dalinarj 
f  j  30  laquale  Redita  e  debitore  dj  m5  mea 
nostra  madre  jstimiaglj  j"  pichola  chosa  -  fj  30 —  fj  15 

Rede  dj  messer  franc"  machiavegl j    —    f j  30 f j  30 

e  piu  debbo  avere  i  molte  p.rtite      -  f  j  -  lib.  6  —  f  j  —  i   sol.  10 

Mechj  di  checho  dj  nicherj ' —  f j  -  lib.  5  —  f  j  —  i   sol.  5 

E  piu  debbo  avere  i  piu  p.rtite  chome  apare  al  q"  f  -  lib.  8  -  f  -  2 

26.16.0 
Incharichj  e  creditorj 

II  munistero  di  santa  filicita  p.  pigione  —  f  j  37 f  j  ^y 

papi  di  michele  f  unaiuolo  — f  j  -  lib.  29      —      f  j  7.  sol.  5 

Rede  di  matteo  f  unaiuolo f  j  -  lib.    4      • —      f  j  i 

La  panno  da  santa  ma  i  pianetta f  j  -  lib.    4      —      f  j  i 

Giovanj  dj  fruosino  jspeziale f  j  -  lib.  i  sol.  10  -  f  j  —  sol.  7  dj  6 

E  piu  o  a  paghare  i  chomune  p.  piu  chatasti 

-  f  j  -  lib.  9  sol.  I  dj  4  -  f  j  ■ — 
E  piu  tengho  j"  chasa  cho  j*  bottegha  a  pigione 
nel  popolo  dj  santa  filicita  che(ch'e)  del  munistero 
di  santa  filicita  done(ne  do)  lano  dj  pigione  fj  xv  —  fj  15 
stimiamo  la  bottegha  f  j  viij  a  f  j  vij  la  chasa  a  f  j  7  p.  c°  —  f  j  100  - 

sol  -dj  -  146.  12.  6 
Boche 
Michele  dj  santj  sop(r)adetto  danj       38 

Franc"  sop(r)adetto  danj  28 

Mona  Mea  nostra  madre 64 

Mona  Sandra  dona  di  michele  danj  25 

Brigida  figliuola  di  michele  danj  —  j  ^  —  fj  1000 

Somma  la  sustanza fj    267  sol.  16  — 

Abattj  p.  jncharichj  e  boche  5  —  ij  1146  sol.  i2-dj6 

Manchaglj       —  fj    878  .16  .  dj  6 

E  chonposto  dachordo  jn  sol.  iiij°  ao(ro)" 

[Idem,  idem,  1433,  Quartiere  Santo  Spirito,  Gonfalone  Nicchio, 
Campione  segnato  N"  9,  c.  245.] 


BENEDETTO  AND  SANTI  BUGLIONI  xliii 

5,     Tax  return  of  Michele  II  di  Santi,  1446. 

"Xpo 

+  Q"  Spo  ghonfalone  nicchio 

121  Michele  dj  santj  malischalcho  apre(apare) 

stanziato  i  detto  ghonfalone 

Ebbe  di  decina  1444  sol.  14 

A  di  dispiaciente sol  10  dj  6 

Avemo  nel  p(r)imo  chatasto  i  nome  dj  santj  dj 

michele  mio  padre  —  sol.  6  i  detto  ghonfalone 

Sustanze 

O  di  creditj  dj  mote  chomune  fj  577  sol.  11  -     fj  19  sol.  10  dj  7 

lib  SCO         A(n)chora  o  fiorinj  200  dj  monte  chomune  e 

Sp5  c.  68  , .    ,  .       ,    -  ,    ,  . ,       , .  , .      • 

qualj  denarj  p(r)onutaj  (promutati)  adj  2^  dj  gienaio 

1446  nella  appolonia  mia  figliuola  p.  annj 

sette  e  mezo  p.  sua  dota      fj    6  sol.  15 


f  j  26  sol.  5.7 
Boche 
Michele  dj  santj  detto  deta  dani  55 

Mo  sandra  mia  dona  deta  danj  40 

Brigida  mia  figliuola  deta  danj  15 

a  di  dota  i  sul  monte  al  tempo  fj  113 

santj  mio  figluolo  deta  danj  1 1 

Apolonia  mia  figliuola  deta  danj  9  ella  detta 
appolonia  a  i  sulmonte  fj  118  chelle  promutatj 
adj  27  dj  1446  dj  gienaio  fj  200  chome  si  dicie  dj 
sopra  p.  anj  sette  e  mezo  p.  sua  dota 

+ 
Tengho  a  pigione  j*  chasa  cho  Bottegha 
dj  malischalcho  del  munistero  dj  santa 
felicita  e  done  lano  di  pigione  f j  60 
che  da  p.  mo  la  piaza  dj  santa  felicita 
ed  secondo  e  terzo  e  quarto  el  detto 

munistero  la  quale  chasa  io  abito  cholle  mie  maserizie  e  famiglia 
e  la  detta  chasa  e  posta  i  detto  popolo  dj  santa  felicita  —  f  j  7  sol. 
nella  detta  Bottegha  fo  larte  del  malischalcho  e 
o  due  chonpangnj  e  qualj  chavano  p.  terzo  ognj 
ghuadagnio  paghiano  dj  pigione  della  Bottegha  lib.  32  lano 

restamj  la  chasa  i  lib.  28 f  j  — ^ — 

E  nella  detta  chasa  stavano  nel 

pmo  chatasto  I  nome  di  santj  dj  michele  malischalcho 


xliv  BENEDETTO  AND  SANTI  BUGLIONI 

Page  42 

R(icordo) 
Saldo 
Soma  la  pma  facia  i  questo  f j  26  sol.  5  dj  7 

Abates!  p.  5  p.  c    dele  posessionj  di  f  j f j  — 

p.  i/io        Abattesi  p.  pigione  di  chasa  — —       f  j  7  sol. 

Ii'(ro)  ^     Resta  detta  Rendita  fj  19  sol.  5  dj  7 

(On  back  of  page  47) 
"R  Michele  di  Santi  detto  recho  adj  27  di  febraio  (1446)" 
[Idem,  idem,  1446,  Quartiere  e  Gonf.  idem,  Cod.  649  c.  41 
e  42.  ■ Same  denunzia  in  Campione  Cod.  648.] 

6.     Tax  return  of  Michele  II,  1457. 
249  "Q.  di  SCO  Spirito  ghofal  nichio 

Michele  di  santi  di  michele  malischalcho 
dicieva  la  graveza  del  chatasto  delano 
1427  i  santi  suo  padre  aveva  di 
catasto  sol  6  oro(o)di  cinquina  sol  10 
e  di  valsente  f  i 

Sustanze 
Ad  monte  chomune  f  350  Resta  avere 
f  70  di  paghe  di  detti  danari  f  4  1  3  sol.  2  dj  1 1         f  3  — 
E  piu  o  avere  da  isimone  dandrea  e 
chopagni  j>ezicagniuoli  stano  nel  populo 

di  sea  maria  i  Verzara lib.  13  s  10 

E  piu  debo  avere  dantonio  cuoramej  lib.  10 

E  piu  avere  da  batista  di  tacino  —  lib.  19  s.  18 

E  piu  debo  avere  da  meo  di  domenicho 

di  dino  vetturale    —    —    —    —    lib.  12  s.  13     f  11  s.  10  dj  3 

E  piu  o  di  trafficho  e  bottega  tra 

maserizie  e  ferri  di  valuta  di  —    —  —     f    20 

E  piu  o  legata  la  stalla  p.  letame  a  lorenzo 

corbinellj  dane      —      lib.  10 

tochami  p.  la  meta        lib  5  f    35  s.  14  dj  4 

Incharichi  ' 

Tengho  a  pigione  una  chasa  cho  bottega 
dove  jo  fo  larte  mia  la  quale  o  dallo 
monistero  di  sea  felicita  posti  i  sulla 

piaza  di  sea  felicita  pagone  lano  —  fi5  fi28s.  iidi6 

E  nella  detta  bottega  o  chonpagnia  cho 
antonio  di  berto  lupitini  malischalcho 
chaviamo  (che  abbiamo)  p.  meta  ql  pocho 


BENEDETTO  AND  SANTI  BUGLIONI  xlv 

di  ghuadagno  che  noi  facciamo 

e  tassata  la  bottega  if/  —  f 

Boche 
Michele  sop(r)adetto  o  deta  danj  —  64  f  200  — 

Santi  suo  figluolo  deta  danj         ■ —  24  f  200 

debito 
Monastero  di  sea  felicita  avere  p.  la 
pigione  della  chasa  e  bottega  fiorinj  otto  —       f  8  s.  — 

debitori 
E  piu  avere  da  piu  p(er)sone  di  some  picole  circha  lib.  15  — 

(clerk's  notations)  — £3  s.  15  — 

Saldo 
Soma  la  p.  ma  faccia  di  sostanze  f  140  s.    4  di  7 

Soma  la  sechonda  f      3  s.  13 

Abbattj  f  5  p.  c°(per  cento)  di  beni  imobili    f  — 

E  piu  per  pigione  di  casa  —  £128  s.  11  di  6 

E  piu  p.  2  boche        —      £  400 

Ma(n)cha       £3843.  11  din 
coposto  p.  partito  degliuficiali  p.  ogni 
sua  sustanza  s.  tre  a  o(ro) 

dicat°(catasto)  rogatos(er)  dncho  (domenicho)  f  —  s.3  a  5 
Agiugnesj  per  1/3  uficali  £  150  co£esso 
i  dote  di  milene(  ?)  dona  di  santi 
suo  figluolo  adi  21  daghosto  1460 
di  che  si  batte  la  1/2  p.  lege  el  tt°(tutto) 
p.  le  boche 

On  the  back  o£  c  716  —  adi  26  di  £ebraio  1457 
p.  franc"  di  pipo  di  franc"  p.  f  mariotto  cortini" 

[Idem,  idem,  Catasto  1457,  Quartiere  di  Santo  Spirito,  Gon- 
f alone  Nicchio,  segnato  Cod.  789  c.  717.] 

7.     Tax  return  of  Santi  II  di  Michele  II,  1469. 
N°  316  "Qre  s°  ispirjto  g"  nichio 

Raportasi  p.  me  dinanzi  a  voj  s(ignorj) 
uficjalj  del  chatasto  dela  cita  di  firenze 
Santj  di  michele  di  santi  malischalcho 
dicieva  nel  p^primo)  chatasto  i  michele 
di  santi  mio  padre 

Ebe  di  chatasto  nel  1427       s.  6  dj  8  —  £ s.  6  di  8 

Ebe  di  valsente  in  deto  nome £  i   s. 

Ebe  di  chatasto  nel   1457     s.  3  f       s.  3 • 

Ebe  di  ventjna     s.    3    f       s.  3 

Sustanze 


xlvi  BENEDETTO  AND  SANTI  BUGLIONI 

r  pezo  di  tera  lavoratja  e  vjgniata 

posta  nel  popolo  di  sa  mart j  no  a 

sesto  luogho  detto  selva  da  p°  e 

sechondo  vja  en  parte  arolfo  (?) 

da  pecia  1/3  rede  di  franc"  ventnri 

1/4  sa  giovanj  tralarchata  le  dete  tere 

chonperai  da  bartolomeo  e  piero  dj  pucio  chalzaiuolj     f  94 

s.  10  roghato  s.  njcholo  valentjnj  nel  1460  fu  p.  doe 

dela  dona  mia  dalla  (la  da)  p.  alienata  al  (14)69 

lib.  Rosso  c.  143  bartolomeo  e  piero  dj  puccjo  —  £85.14.4 

Incharichi 
Santj  deto  deta  danj  35 

Margherita  mia  dona  danj  24 

Michele  mio  figluolo  danj  7 

Tengho  una  chasa  a  pigione  da  filipo  da 
marcjala  chalzaiuolo  posta  nel  popolo  dj 
sa  giorgio  cho  sua  chonfinj  pagho  di 
pigione  f  7  doro  q(u)esta  e  data  al  estimo  i  nome  (these  7  words 

cancelled) 
si  sta  a  fare  Richordo  p(er)  pieno  ( ?)  i  filippo 
di  zanobi  chalzaiuolo  nobile  di  chontado 
lo  santj  sop(r)adetto  mirachomando  ale  discrezione 
vostre  p(er)che  ghuadagno  pocho  e  truovomj  in 
ghra(n)  disordine  di  debito  e  altrj  disestj 
preghovj  vi  sia  rachomandato f 

Benj  alienatj 
Avevo  1°  chredito  di  monte  dicievo  i  michele 
mio  padre  di  f  319  i  q(u)alj  o  vendutj  nel 
1460  e  1461  incircha  a  piu  p(er)sone  cioe  i' 
parte  a  pierozo  banchi  p(er)  fare  dote  e  i* 
parte  a  benedeto  chozone  p(er)  fare  dote  chome  p(er)  librj 
del  monte  vedrete  chome  none  resta  igniuno 

85.14  4 

(Clerk's  notations) 
Soma  sua  sostanza  1  qa  (questa)  c.  706  '■ —  f     85. 14.4 

85.14.4 
Abattj  di  f  6  dentrata  di  possession  j  I  f  5  s.6 

f    7  p(er)  c"  (cento)  f  4.5.8 

Abatj  p(er)   i"  pigione  p'  (paghata)  di  f  vij  lano 

a  7  p(er)  c —        f  100 

Abattj  p(er)  iij  bocche f  600 

704.5.8 


BENEDETTO  AND  SANTI  BUGLIONI  xlvii 

Manchaglj  chome  di  sop(r)a  si  vede    f  6 1 8.1 1.4 

e  sta  a  chonpore  e  da  i"  testa 

Conpo(sto)  pegluficalj  I  chatassto  if  —  s.  iiij°  f  —  s.  4" 

(This  portata  was  made  Aug.  13,  1469,  as  is  shown  by  nota- 
tions of  other  portata — that  is  on  back  of  c.  704,  "Richordo  dette 
adj  13  daghosto  1469,.  .  and  on  back  of  c.  708  ''adj  13  daghosto 

1469." 

[Idem,  idem  Catasto  1469,  Quartiere  di  Santo  Spirito, 
Gonf alone  Nicchio,  segnato  Cod.,  906  c.  706.] 
8.     Tax  return  of  Santi  II  di  Michele  II,  1480. 
"+  Q  Sto  Spto  G"  Nicchio 
Santi  di  mjchele  disanti  manischalcho  abita  nel  pplo  dj 
Sta  felicjta  e  nella  via  de  ghujccardjnj  G*  del  njcchio 
disse  il  chatasto  1469  in  mjo  nome  ppo  (proprio)  ebbj 
in  detto  G*  f  —  s  4  dj 
ebbj  di  sesto        —  —        —        —        —        —       -f  —  i  —  S2dj 

Sustanze 
Una  chasetta  posta  nel  pplo  di  san  gorgio  e  nella 
via  di  san  gorgio  G'  della  schala  cha  (che  ha) 
pmo  e  sdo  via  0/3  carlo  paffi  0/4  benj  di  santo 
spirito  laqale  conperaj  da  carlo  e  franc"  dan*" 
paffi  p(er)  f  90  di  sug°  adj  5  di  settenb(r)e  1471  p(er) 
iscritta  di  mano  daghostino  di  govanj  gachjnj 
laq(u)ale  chasa  o  apigonata  a  matteo  di  marcho 
ottonaio  p(er)  1  32  p  (iccioli)  chome  apare  p(er)  iscritta 
p(r)ivata 

fo  un  po  dexercizio  manualle  di  manischalcho  in 
solla  piazza  di  santa  felicita 

Incharjchj 
Tengcho  a  pigione  una  chasa  j>osta  nel  pplo  di 
santa  felicjta  e  nella  via  deghujccardjnj  G* 
del  njcchio  cha  pimo  via  sdo  messer  lujgi  ghuj- 
ccardjnj 0/3  jachopo  ghujccardjnj  laqale  e  del 
munisetro  dj  santa  fehcita  e  donne  (ne  do)  lanno 
di  pigione  1  qaranta  plj  e  unocha  olla  p(er)  iscritta 
p(r)ivata  f  10  I'ano 

Tengho  un  po  di  bottegha  a  pigione  posta  in  sulla 
piazza  di  santa  felicita  a  uso  di  manjschalcho 
cha  pmo  via  sdo  rede  di  tomasso  barbadorj 
0/3  rede  di  filippo  ghujdetti  0/4  tanaj  de  nerlj 
laqale  o  da  fracescho  di  lorenzo  bastiere  chella    ' 


xlviii  BENEDETTO  AND  SANTI  BUGLIONI 

tiene  da  jac"  ghujccardjnj  insieme  chonaltro  sito 
e  donne  lanno  della  parte  tengho  f  7  dj  sug° 
chome  apare  p  iscritta  pivata  e  innessa 

exercito  el  mestiero  del  manischalcho f — 

Santi     detto     deta     danj  46 

Mona  margherita  mia  dona  36 

Michele   mjo   figluolo   anj  14  Ista  con  zanobj  da  monte 

aghuto  funaiuolo  a  I'ano  f  10  di  sug°    1  4  p(er)  f 

Benj  alienatj 
xxvij  St'  di  terra  lavoratia  e  vignati  in  piu 
pezzi  poste  nel  pplo  di  san  martino  a  sesto  luogho 
detto  alia  selva  cha  pmo  via  sdo  rede  di  franc" 
Ventura  0/3  Molfo  da  pesc(i)a  0/4  benj  dello  spedale 
di  san  go  van  j  fralarchora  (fra  gli  archi)  venduto 
a  mona  sidonja  donna  fu  di  tomasso  di  s(er)  piero 
di  s(er)  tommaso  Ijnaiuolo  p(er)  f  136  di  sug°  roghato 
s(er)  franc"  di  s(er)  jac"  da  romena  sotto  dj  30  d'otto- 
b(r)e  1471 

(Added  by  the  clerks) 
Soma  le  sue  sustazje  la  pj'   (prima)   faccja         —       —     fj   128     11     6 

abatte  5  p(er)  c°      f  — f        6      8     6 

avanzaglj  di  sustanzje  (figures  erased)  a  7  p(er)  c" 

f ano  di  rendita  f  8  1 1  8 

tochaglj  di  schala  f  8  sii  dj  4  dj  r'  (rendita)  a  7  p(er)  c°  —  f — 

s  undicj  dj  1 1 

abattesj  f  10  pagha  di  pigione  di  chasa 

chome  si  vede  i  q"  329  chome  pagha 

lanno  f  10  a  7  p  (er)  c° f    142     17     3 

Manchaglj  f  2o(  ?)  s  14  dj  3 

Arbitrio  s  cinque  di  f.  la  (larghi)    — ■ —  s  5  — 

Tocchaglj  — —  f 1  1.5.0" 

(This  portata  was  made  in  June  1480  as  per  notes  on  the  back  of  the 
preceding  and  following  pages.) 

[Arch,  di  Stato,  Arch,  delle  Decime,  1480,  Quart,  di  S°  Spirito,  Gonf. 
Nicchio,  Filza  995,  c.  329.] 

9.     Tax  return  of  Michele  III  di  Santi,  1498. 

This  return  was  actually  made  about  March  31,  1495,  ^^  P^^  "^^e  at 
the  foot  of  the  previous  page  "R(ech)°  e  detto  adj  31  di  marzo  1495." 
"Quartiere  di  S(an)c(t)o  Sp(irit)o 
Gonf.  Njchio 
Michele  di  santj  di  michele  di  santj  funaiuolo 


BENEDETTO  AND  SANTI  BUGLIQNI  xlix 

del  popolo  di  santa  feljcjta  disse  la  graveza  della 
jschala  jnchamerata  dellanno  1481  jn  santj  di 
Michele  di  santj  maniscalcho  mjo  padre  G(onf.) 
detto  c.  706 

Sustanzie 
Una  chasa  chon  sua  abiturj  posta  in  sulla  chosta 
S(an)c(t)o  Gorgo  popolo  di  detto  S(an)c(t)o  Gorgo  a  p°  detta 
chosta  a  ij°  franc"  dant"  pafifj  a  iij°  filjppo  di 
bart"  muratore  a  iiij°  un  orto  delle  chappelle 
di  S°  Spirito  lo  quale  dettj  nella  detta  graveza 
del  (14)81  tjella  appigone  da  me  agchostjno  di 
giovannj  Manneglj  g"*  (gonf alone)  ischala  per 

•Ijre  40  lanno  per  ischritta  di  terza  persona  f  10  

Una  chasa  chon  sua  abiturj  posta  nel  popolo 
di  sa  feljcjta  tengchola  appigone  dal  munjstero 
e  Monache  di  detta  santa  feljcjta  per  p(r)ezo 
di  1  45  e  j*  ocha  lanno  rogchato  ser  Ijonardo 

di  giovanj  da  cholle  sotto  di     f         

10  

(Added  by  another  hand) 
Somma  la  E'(Entratura)  di  q(u)esta  scripta 
f  diecj  doro  che  sono  1'  (larghj)  f  viij  s  vj° 

dj  viij  r(largha) 

tocha  di  x'  (decima)  f  —  s  vj°  dj  viij  T  — 

(Added  in  1532) 
Al  (15)32  in  batista  e  benedetto  dj  dome" 
del  frale  charro  N°  94  per  decima  sol  16.8 —  f —   16.8" 

[A.  di  S.,  Archiv.  delle  Decime  1498,  Quart.  S.  Spirito,  Gonf.  Nicchio, 
Filza  N°  10  c.  123,  published  in  L'Arte,  XXI  (1918),  207-208.] 

10.     Tax  return  of  Santi  III  di  Michele  III,  1532. 
"Q'^  s*"  sp'°  Gonf*  Nichjo 
No.  346     Santi  dj  michele  dj  santj  scultore  dixe 

la  a/x  (14)98  i  michele  di  santj  di  michele 
a  c  123  hita  (habita)  nel  p'"  dj  s*°  Jach° 
oltrarno  a  pigione  i  chasa  lered(e)  dalex" 
morj 

benji  acquistatj  eno  achoncj 
Un  pezo  dj  terra  lavoratia  e  vite 
nel  p'"  dj  s*°  Marcho  Vechio  condotta 
a  line  (a)  da  m.pagholo  di  xpofano 
ottonajo  chanonjcho  dj  s*°  T"  e 


1  BENEDETTO  AND  SANTI  BUGLIONI 

dettj  dentratura  f  5  do(ro)  e  pagho 

lanno  dj  feudo  £5  do(ro)  a  religiosj 

s'°  g"'  n"  II  dassj  p(er)  la  Entratura 
Beni  alienatj 
Una  chasa  con  sua  habiturj  i  sulla  chosta  dj 
s*°  giorgio  p'°  d(e)c(t)o  a  p(rim)°  d(e)c(t)a  chiesa  2"  franc" 
dant°  paff j  3°  filippo  dj  bart"  muratore  4° 
chapp'  dj  s'"  sp*°  venduta  a  Ant°  dj  franc" 
paffj  p(er)  f  90  di  s'°  (suggello)  xog°  s(er)  guasparre 
della  pieve  adj  6  dj  settemb(r)e  1497  ^  sono 

a  x"  (decima)  Nichjo  a  c.  223  p(er)  entratura  dj  f  10  —  f 

Som(m)a  lent'  (lentratura)  di  questa  schripta 

chome  si  vede  f  —  s  viij  dj  sug° f  8  

tochalj  dj  x'  (decima)  f  —  s  —  dj  otto  larghi  di  grossi — f — 8 — f — 8  larghi 
Addj  3  dagosto  1559  f  1.7.4  Dant"  Cioni 

d°  (drago)  s°  g'  a  c  loi  p(er)  schripta  n°  99      f     1.7.4 

Addj  p°  dap(ri)le  1563  f  i .  i  —  da  luca  di  bastiano 
linaiuolo  alib(r)o  apte  (aparte)  T"  (leone)  d°  (doro) 

c  124  p(er)  schripta  n°  19  . f     i.i  — 

Adj  29  dj  febraio  1575  f  1.5.2  che  s  3.7 
da  m'  fioretta  dj  bn""  (bernardo)  pnrgatore 
alib(r)o  aparte  chiave  C5i5efi.i.7di 

nuovo  x°  (decima)  p(er)  arroto  dj  n°  271      f     1.5.2 

Adi  30  di  Maggio  1576  f  3.11  p(er)  casa  apigi- 

onata  arroto  dj  n°  72       f — 3 .11 

Adi  6  di  9b(r)e  1576  f  i  .3.  i  p(er)  laumento  dj 

n°  269         f     1 . 3 . 1 

5-I-2 
Santi  di  contr"  avere  addj  16  di  marzo 

1563  f  1. 1  —  p(er)  casan"  13      f     i.i  — 

Adj  28  dj  febraio  1576  f  4.0.2  a  Michel- 
agniolo  suo  figluolo  in  q°  a  c  63  p(er) 

arroto  dj  n°  373     f     4  2" 

[Archiv.  di  Stato,  Archivio  delle  Decime,  Catasto  del  1532.  Quart. 
Santo  Spirito,  Gonf.  Nicchio,  Cod.  13,  c.  40i*-402;  published  in  L'Arte 
XXII  (1919),  112.] 

II.     Michele  III  di  Santi  II  is  credited  with  his  wife'$  dowry,  1491. 
"+  1491 
Michele  dj  santj  di  michele  funaiuolo  marito 
di  franc'  di  niccolo  di  piero  mori  borsaio 
de  avere  adj  13  dj  feb(r)aio  1485  f  cento  sessanzei 


BENEDETTO  AND  SANTI  BUGLIONI  li 

s  -  dj  iiij  larghi  p(er)  resto  dj  sua  dota  abatuta 
f  55  s  6  dj  9  larghi  autj  p'  34  levatj  dal 
dco  lib(ro)  biancho  dele  dote  no  andate  a  7 

p(er)  c  c.  486       f  166  s  —  dj  4 

no  si  paghino  senza  la  debita  licenzia 
Posto  debbj  avere  alb(o)  g°  (giallo)  de 

4  p(er)  c°  a  c.  499  jn  di  22  di  giug°  1495  ^   166  s  —  dj  4" 

[Archiv.  di  Stato,  Ufficio  del  Monte  da  4%.  Lib.  Deb.  e  Cred.  A,  149 1- 
1495,  c.  438.] 

12.     Michele  Ill's  indebtedness  to  Benedetto  Buglioni,  the  guardian  of 
his  children,  15 13. 

"+  yhs  MDXIII 
R°     Michele  dicotro  de  dare  adj  13  di  giug" 

1521  F.  166  s  —  4  larghi  posto  av(er)e  alibro  s'°  G.c.727  F.166  s  —  4 

Michele  dichontro  de  dare  adj  29  di  maggio 

1514  F.  2  1  1 .9.8  p(er)  luj  a  benedetto  di 

giovani  schultore  p(r)ochuratore  degli  uficialj 

de  pupillj  chome  apare  al(i)b(r)oF.  C149 

di  benedetto  f rederighj  cam"  al  mote  —  F.  2  1  i .  9 . 8 

E  adi  II  di  febraio  15 14  F.  2  1  1.9.8 

p(er)  luj  a  benedetto  di  giovani  p(r)ochu- 

ratore  ale  paghe  ghadagniate  e  che 

si  guadagnierano  daliuficiali  de 

pupilli  tutori  delerede  di  detto 

michele  chome  alib(r)o  F.  c  149  c"  (carta) 

di  p(r)ochura  p(er)  s(er)  xpofano  di  piero  ciechj 

sotto  di  II  di  sett'  1514  da  Roso  Ridolfi 

K°  al  mote    —    —  F.  2  1  1.9.8 


"+  yhs  MDXIIJ 
Michele  di  santi  di  michele  funaiuolo 
de  av(er)e  adi  xvij  di  marzo  15 13  F.  cento 
sessantazei  s —  dj  iiij"  larghi  p(er)  dota  dela 
franc*  di  nicholo  di  piero  di  more 
borsaio  sua  dona  guadagnati  adi  13 

di  febraio  1485  levati  dalib(r)o  F.  149  —  F.   166  

Aptenghono  a  m"  franc"  sop(r)adetta 
mediante  la  morte  di  detto  michele 
e  la  fine  p(er)  lei  fatta  alierede  e 


Hi  BENEDETTO  AND  SANTI  BUGLIONI 

leredita  di  detto  michele  p(er)  detta 
som(m)a  rogato  s(er)  giovanp"  di  jac° 
borghesi  sotto  di  2  dottob(r)e  1508 


Michele  di  sop(r)a  de  av(er)e 


E  adi  24  di  maggo  1520  F.  2  1  1.9.8  per  luj 

a  benedetto  detto  p*  (prochuratore)  degliuficialj 

de  pupillj  attorj  e  churatorj  de  figluolj  di 

detto  michele  carta  di  p"  (prochura)  p(er) 

christofano  ciechj  sotto  q°  (questo)  p(r)esente 

di  da  stoldo  altovitj  al  mote  pto  (porto) 

luj        —        —        —    —        —  F.  2.  1  1.9.8 


E  adi  24  di  gienaio  1520  F.  2  1  1.9.8  da 

ulivierj  gnadagni  al  mote  pto  benedetto  d°  F.  2  1   1.9.8 

E  adi  30  di  gugnio  1521  F.  2.  1  1.9.8 

p(er)  lui  a  santj         —  —         —  F.  2  1  1-9.8" 


[Archivio  di  Stato,  Ufficio  del  Monte  da  7%,  Libro  Deb.  e  Cred.  1512- 
15 13,  segnato  B.  Filza  975,  c.  733.] 

13.     Three  of  Michele  IH's  sons  to  receive  their  inheritance  from  their 
mother. 

"+yhs  MDXXJ" 
Michele  di  chontro  de  dare  adj  3  daghosto 
1 52 1  f  octantatre  larghi  p(er)  luj  a  Giovanb" 
di  Gerj  risalitj  al(i)b(r)o  H  33  di  licenza  di 
santi  f"  (figliuolo)  di  detto  michele  e  f'" 
ederede  p(er)  la  a/4  p(ar)te  abintestato  di  m' 
franc'  dona  fu  di  detto  michele  a  luj 
attenetj  p(er)  la  sua  ragonj  dotal j  mediante 
la  fine  p(er)  lej  fatta  allj  eredj  di  detto 
michele  c'  di  fine  p(er)  detta  p(er)  s(er)  Giovanpiero 
borghesi  fatto  dj  2  dottob(r)e  1508  c"  daprensione 
deredita  p(er)  detto  santj  di  detta  m'  franc'  p(er)  s(er)  bt° 
(bartolomeo)  del  Chavallone  sotto  dj  2  daghosto 
1 52 1  ed  etiam  di  licenza  di  detto  santj  prochuratore 


BENEDETTO  AND  SANTI  BUGLIONI  Hii 

di  piero  fig'°  di  detto  michele  e  f'"  e  rede  p(er)  unaltra 
a/4  p(ar)te  abintestate  di  detta  m"  franc"  c"  di  prochura 
e  daprensione  dj  redita  isieme  fatta  p(er)  s(er)  piero  epifani 
soto  dj  9  dj  luglio  1521  e  p(er)  la  a/2  di  f  166  —  atentj 

a  dettj  santj  e  piero  al  q"°  —  c.  45  —  f     83  

E  adi  xviii  di  giugino  1522  F  q(u)arantuno  s-x  larghi 
p(er)  lui  a  mariano  dinicholo  mori  avere  all  h  c  449 
li  Iza  (licenza)  di  frate  stefano  fig'"  del  detto  j 

michele  isindacho  e  p(r)ochuratore  de  fratj 
chapitolo  e  covento  di  santa  m"  de  svi  (servi) 
di  firenze  eredj  detti  fratj  mediante  la  p(er)sona 
di  detto  frate  stefano  frate  p(r)ofesso  i  detto 
monastero  e  chovento  e  rede  di  m'  franc' 
dona  fu  di  detto  michele  p(er)  la  a/4  p(ar)te  abintestato 
allej  attenetj  p(er)  le  sua  Ragioni  dotal j  mediante 
la  fine  p(er)  lej  fatta  aglieredj  di  detto  michele 
I  magior  som(m)a  carta  di  fine  p(er)  s(er)  govanp" 
borghesi  sotto  di  22  dottobre  1508  charta 
di  sindachato  e  p(r)ochiira  e  daprensione  deredita 
i  sieme  fatta  p(er)  s(er)  fra°  di  s(er)  xpofano  da 
chastelfrancho  sotto  di  14  del  p(r)exente  al  q"°  c  42  —  f  41      10  — 
R°     E  adi  7  di  marzo  1532  f  q(u)arantuno  s  x  dj  iiij 

larghi  posto  al(i)b(r)o  s*"  Q  c  574  f  41      10     4 

f  166  —  4 
Michele  dichontro  de  dare  addj  18  di  giugnio 
1522  f  2  1  1.9.8  p(er)  lui  a  frate  stefano  suo 
fig"  ed  erede  p(er)  la  a/4  p(ar)te  chome  di  sop(r)a 
nella  p(r)ochura  da  dom"  Riccalbani  alle 

prestanze  p(or)to  lui —  f  2  1  1.9.8 

E  adi  29  di  dicenb(r)e  1522  f  3  1  2.4  — 

p(er)  lui  a  santi  di  michele  di  santi 

p(r)ochuratore  degliuficialj  di  pupilli 

attori  e  per  tenpo  churatore  di 

nicholo  fig'°  ed  erede  del  detto 

michele  p(er)  j"  a/4  p(ar)te  charta  di  p(r)ochura 

p(er)  s(er)  btm°  dant°  mey  sotto  di  23 

di  dicenb(r)e  1522  da  cino  cini  alle 

prestanze  p(or)to  santi  detto  p(er)  piu 

paghe  lutimo  di  gennaio  1 522 . —  £312, 4 '* 


liv  BENEDETTO  AND  SANTI  BUGLIONI 

''+  yhs  MDXXJ" 
Michele  di  Santi  di  Michele  funaiuolo 
de  av(er)e  addi  xiii  d  di  gugnio  1521  f 
cento  sesanzej  s  —  dj  iiij°  larghi  guadagnati 
adi  13  di  febraio  1485  p(er)  dota  della  franc* 
di  niccholo  di  piero  de  mori  borsaio 

sua  dona  levti  dalbo  az"  s*°  B  —  c  733  f   166  —  4 

A  p(ar)tenghono  a  m'  franc"  sop(r)a  detta 
p(er)  la  fine  Roghato  p(er)  s(er)  giovanp"  di 
jac°  borghesi  sotto  di  22  dottob(r)e  1508" 


[A.  di  S.,  Ufficio  del  Monte  da  7%,  Lib.  Deb.  e  Cred.,  G,  1519-1521, 
0727.] 

14.     Santi  Buglioni  rents  the  house  in  the  Via  Campo  Carbolini. 

"MDXXVJ" 

Santi  di  michele  dj schultore  a  chondotto 

dannoj  e  sotto  scrittj  benj  qui  appie  appigione 
una  chasa  chon  sua  abiturj  e  appartenenze 
posta  in  via  detto  chanpo  chorboljnj  e  nel 
poiX)lo  di  s°  lorenzo  chon  sua  vochabolj  e 

chonfinj  che  a  po  via  e  sechondo 

a  0/3  ....  0/4 la  quale  teneva  prjma 

Rede  di  betto  schultore  p(er)  linja  le 

detta  Ijnja  sino  addi  prijmo  di 
novebre  1525  chome  si  vede  alibro  p'  e  fittj 
s*"  c    C291  dj  poj  detto  dj  la  chondotta 
el  sopradettto  santj  sotto  dj  4  dj  novebre 
1525  p(er)  anni  tre  prossimj  avenire  icomin- 
cjatj  sino  adj  prjmo  novebre  1525  p(er) 
d(ucati)  diecj  Ij  doro  in"  lanno  e  paja 
uno  dj  chapponj  dappagharsi  di  sej  mesi 
i  sej  mesi  la  rata  che  tocha  chome 
di  tutto  appare  contratto  p(er)  mano  dj 
s(er)  alfonzo  corsj  sotto  detto  dj  la  quale 
chasa  venne  a  questo  sp'*  p(er)  donazione 
fatta  andrea  dangnjolo  nutjnj  lanno 
1458  come  appare  alibro 


E  de  dare  p'*  (presente)  dj  xxv  d.  ottobre 


BENEDETTO  AND  SANTI  BUGLIONI  Iv 

1526  f  cinque  doro  inoro  e  1  tre  s  5 

dj  II  plj  et  paja  16J/2  chapponj  p(er)  resto 

chonto  djceva  i  benedetto  dj  g'  di 

b""  dantt"  schultore  dachordo  piu 

tempo  fa  fattolo  chreditore  alib"  copie 

e  c'  (conti)  anzi  p'  e  fitti  s'°  c  c.  291       —      —       f  5  1  3.2  5  dii  p  16^2 

E  per  mesj  tre  finitj  addj  ultimo  di  giennaio 

1529  lib.  dicasette  sol.  10  piccioli  coe  —  f  2  lib.  3  sol.  10  dj  paia 

Venduta  a  Berto  di  bernardo  chalvellj  addj   .    .    .  di 

gennaio  1529  chontratto  per  Ser  rafaello  baldesj 

Total  debits  f.  48  i  .0  11  p'  20'  (20>^)." 
[Arch,  del  R.  Arcispedale  di  S.  Maria  Nuova,  Libro  Fitti  e  Livelli  D, 
1523-1533,  c.  78;  published  in  L'Arte,  XXI  (1918),  195.] 

15.     Concerning  rental,  1525. 
"+   MDXXVJ 
Santi  di  michele  schultore  e  altrj  chontro 
anno  av(er)e  addj  xv  di  maggio  1526  1  tredjcj 
s  xij  plj  recho  contanti  a  entrata  s'°  i  c  120 
R"  (recho)  g"*"  (giovanni)  di  jac°      —  f   i  1  6 — 12  dj  p  — 


E  avere  1  ventj  dua  s  15  di  plj  (picciolj)  e  sono 
p(er)  uno  pozzo  fatto  nella  strada  di  smalt j  re 
e  votatura  duno  pozzo  nero  e  rjmodatura 
duno  pozzo  p(er)  uno  chonto  riceuto  p(er)  un 
foglio  i  filza  di  santi  sopra  detto  debitore 
riparazione  1  questo  c.  198  sotto  p'"  di 

XXV  dottobre  1526    —    —    f  3  1  1-15  dj- p  — 

Then  follow  rent  payments,  the  last  being 
made  January  27,  1531. 

f  30  1  6 
E  de  avere  p'"  (posto)  dare  alibro  fitj  s*° 
E  c  128     f  17  1  2-1 1  p  22y2 

f   48   1    I-II    p"   22>4" 

[Idem,  c.  Lxxviij.] 

16.     Lisabetta  di  Santi  Buglioni  to  receive  the  share  which  Niccolo  di 
Michele  inherited  from  his  mother. 

"Michele  dichontro  de  dare  addj  19  di  febraio  1533 
f  quarantuno  s  x  dj  iiij°  p(er)  luj  a  lisabetta  figliola 
dj  santj  dj  michele  schultore  avere  alib(r)o  R 
c.  226  di  r"  di  detto  santj  prochuratore  dj  m(messer) 


Ivi  BENEDETTO  AND  SANTI  BUGLIONI 

Giovamaria  generale  del  ordine  e  monacj 

dj  valenbrosa  erede  detto  monastero  e  monacj 

dj  valenbrosa  p(e)l  %  parte  abintestato  dj  m" 

franc*  donna  fu  dj  detto  michele  mediante 

la  persona  di  do  vetorio  (Don  (?)  Vetorio) 

al  secholo  chiamato  nollo  (Niccolo)  figliolo  dj 

detto  michele  e  dj  detta  m'  franc*  professo 

i  detto  monastero  chonditionaria  detta  m*  franc* 

i  detto  chredito  p(er)  le  sua  ragionj  dotalj  mediante 

la  morte  dj  detto  michele  e  la  fine  p(er)  detta 

m'  franc'  fatta  aglieredj  ;di  detto  michele  c* 

dj  fine  p(er)  s(er)  giovanpiero  borghesi  addj  2  dottobre 

1508  ch**  daprensione  dj  redita  e  prochura  insieme 

fatta  p(er)  s(er)  bastiano  da  firenzuola  addj  4  dj  liiglio 

1533  e  sono  p(e)l  quarta  parte  di  detto  nollo 

al  q""  c  77       —  f  41   10  4" 

"+  yhs  MDXXXIJ 
Michele  di  santi  dj  michele  funaiuolo  de  avere 
addj  7  di  marzo  1532  f  quaranta  uno  s  x  dj  iiij 
larghi  guadagnati  addj  13  di  feb(r)aio  1485  p(er) 
tanti  levati  di  suo  chonto  dalibro  p" 

(pagonazo)  s*"  G  c  727    ■ — ■    —  f  41. 10. 4 

sono  p(er)  dota  della  franc*  fig'*  di  nic° 
di  piero  borsaio  e  sua  donna 
Apartenghano  a  m'  fran*  sopradetta  p(er)  la 
fine  p(er)  lej  fatta  Aglieredj  dj  detto  michele 
R*"  s(er)  giovanpiero  di  iac°  borghesi  addj 
2  dottob(r)e  1508  Restano  p(er)  una  a/4  Reda  p(er) 
avere  santi  piero  e  frate  stefano  fig"  di  detta 
m*  franc*  fatto  deloro  94  parte" 

[A.  di  S.,  Ufficio  del  Monte  da  7%,  Lib.  Deb.  e  Cred.  Q,  1 532-1 533, 
c.  574] 

17.     Lisabetta's  inheritance,  subject  to  various  conditions. 
"+  yhs  MDXXXIIJ 
Lisabetta  di  cotro  dedare  addj  23  dj  Giennaio 
1545  f  ciento  larghi  p(er)  lej  a  G""  dj  s(er)  Girolamo 
della  valle  avere  al(i)b(r)o  D  c  587  dj  licetia  dj 
santj  padre  dj  detta  lisabetta  coditionario 
in  detto  credito  e  paghe  a  fame  la  sua 

volota  a  f  27^  al  quaderno  c  69*         f  100  

E  addj  18  dj  febraio  1545  f  cieto  quaratuno 


BENEDETTO  AND  SANTI  BUGLIONI  Ivii 

s  X  dj  iiij  larghi  p(er)  lej  a  ma  Dianora  dj 

Gnj  Covonj  avere  al(i)b(r)o  x  c  124  dj  T 

di  santi  padre  di  detta  lisabetta  coditionario  i  detto  c°  (credito) 

p(er)  durate  la  sua  vita  a  poterne  fare  la 

sua  volota  la  quale  p(r)omuta  disse  detto  santj 

fare  ad  istazia  di  Dino  Canaccj  e  detto 

Dino  disse  fare  tale  p(r)omuta  in  detta  ma 

Dianora  ad  istazia  di  carlo  di  giuliano 

Maruciellj  el  quale  disse  rimettere  detto  c" 

in  detta  ma  Dianora  p(er)  R°  (Resto)  di  f  200 

prestatj  a  detto  carlo  piu  tenpo  fa 

a  f  28  el  c"  (cento)  al  q"  c  74 ^  f  Mi     10     4 

241. 10. 4" 

"MDXXXIIJ 

Lisabetta  fig"  di  santj  di  michele  schultore 

de  av(er)e  addj  19  di  feb(r)aio  1533  f  quarantuno 

s  X  dj  iiij  larghi  p(er)  michele  dj  santj  funaiuolo 

dare  al(i)b(r)o  Q  c  574  guadagnati  adj  13  di  feb(ra)io 

1485  con  chodizione  che  detto  credito  abbj 

a  servire  p(er)  dota  o  parte  dessa  di  detta 

lisabetta  chonsumato  che  sia  el  matrimonio 

chol  suo  futuro  maritto  e  p(er)  esso  fatto 

sufiziente  sodamento  a  dichiaralzione  dj  detto 

santj  suo  padre  e  fatto  detta  dichiaralzione 

detto  credito  restj  libero  al  detto  futuro 

suo  marittto  e  in  chaso  che  detta  lisabetta 

si  monachasj  inanzj  al  chonsumato  matrimonio 

detto  credito  sia  dove  la  detta  sara  monacha 

p(r)ofessa  e  in  chaso  chella  si  morissj  inazzj 

a  uno  de  detti  efettj   detto  credito  restj 

libero  a  santj  suo  padre  e  chon  chondizione 

nonostante  detta  condiz"*  che  detto  santj 

suo  padre  possa  durante  la  sua  vita  di 

detto  cred*°  e  p(er)  fame  la  sua  volonta      f  41  .  10  .  4 

E  adj  6  dottob(r)e  1536  f  dugento  p(er)  giuliano 
dj  giovannj  Marzi  in  q'°  c  397  guadagnatti 
adj  p""  dj  settenb(r)e  1495  chole  medesime 

chonditionj  di  sopra  f  200 

241 . 10.4" 
[A.  di  S.,  Monte  da  7%,  Libro  Deb.  e  Cred.  R,  1533-1534,  c.  226.] 


Iviii  BENEDETTO  AND  SANTI  BUGLIONI 

1 8.  Santi  Buglioni's  accounts  with  the  Accademia  del  Disegno. 

"+  MDXXXVIIJ  + 
Santi  Buglioni  scultore  de  dare  da  di  p° 

di  novembre  per  insino  a  tutto  ottobre  1539      —        —        1  —  si6dj  — 
posto  in  questo  a  c.  104" 

"+  MDXXXVIIJ  + 
Santj  dirinchontro  deba  avere  sol  cinque 
dj  quatro  posto  deba  avere  al  chanpione 

vecio  a  c.  138      1  —  s  5  dj  4 

e  de  avere  s  quatro  pago  al  chamarlincho 

adi  14  di  setenbre  a  c.  12  1  —  s  4  

e  de  avere  s  octo  pago  alchamarlinghD 

adj  18  dotobre  a  c.  12  1  —  s  8 " 

[Archiv.  dello  Stato,  Academia  del  Disegno,  Libro  Deb.  &  Cred.  B 
1538-1556  segnato  Arti  27  Cod.  3  c.  76*  e  Ixxvij ;  published  in  L'Arte, 
XXII  (1919),  248.] 

19.  Continuation  of  the  same. 

"1539 
Santj  buglionj  schultore  de  dare  da  di  p°  di 
novenbre  p(er)  insino  a  tutto  ottobre  1540 

s  sedicj    —  1  —  s  16  

E  de  dare  s  sedicj  sop(ra)  la  tassa 
di  q(ues)to  an(n)o  comjciat"  adj  p" 

dj  Noveb(r)e  1540     1  —  s  16  

E  de  dare  s  sedicj  sop(ra)  la  tassa 
di  q(ues)to  an(n)o  comjcjat"  adj  p°  di 

Novebre  1541      1  _  s  16  

E  de  dare  s  dua  sop(ra)  la 

messe  di  Rafaello  e  giova 

cjafanjnj 1  _  s     2  


I2       10 
"1539 
Santj  dirjnchontro  de  avere  s  uno  e  dj  quatro  chome  si 

vede  in  q(ues)to  c.  77      —  1  —  s   i  dj  4 

E  de  a(ver)e  s  sej  pago  al  c°  (camarlingo)  adi  21 

dj  febrajo  c.  13    —  1  _  s  6 

E  de  a(ver)e  s  dua  pago  al  c°  adi  20  di 

gugnjo  c.  14  1  —  s  2 

E  de  a(ver)e  s  sej  dj  otto  pago  al  c°  adj 

18  dottobre  c.  15   —  1  _  s  6  dj    8 


BENEDETTO  AND  SANTI  BUGLIONI  lix 

E  de  a(ver)e  s  quatro  pago  al  c°  adj  13  dj 

febrajo  c.  17    —  1  —  54 

E  de  a(ver)e  1  una  pago  al  c  adj  18  dj 

Setenbre  1541  c.  19    —  lis  — 

E  de  a(ver)e  s  sej  dj  8  pago  al  c°  adj  18  di 

ottobre  1542  c.  21  1  —  s  6  dj    8 


1     2  s  10 
E  de  a(ver)e  s  tre  dj  quatro  posto  deba  dare  in  q(uest)o  c.  115 — 
per  raguaglio  di  q(uest)a  ragone." 

Pages  114*  and  115  have  similar  accounts  for  dues  and  masses 
Pages  126*  and  127  have  similar  accounts  for  dues  and  masses 
Pages  144*  and  145  have  similar  accounts  for  dues  and  small  expenses 
(object  not  stated).  The  last  credit  is  sol.  16  for  the  year  Nov.  i  1556  to 
Nov.  I,  1557. 

[Idem,  idem,  c.  103*  e  104;  published  in  L'Arte,  XXII  (1919),  248.] 

Addi  18  di  Dicembre 
3  Sindaci         Determinorono  similmete  che  dovessi  esser  rivisto 
a  1  p(.er;       -j  ^^^^^  ^  ^o  q-^   fgfjini  proveditore  di  detta 
nvedere  il  .        .  , 

coto  a  m°  ^^^  Academja  di  tutto  q    (quel)  tempo  che  esso 

Gio.  fed.         haveva  exercitato  tale  offitio,  et  a  tal  negotio 

P'"^-  elessono  p(er)  sindacj  m°  Fran"  Camillani  s(cultore) 

m°  Santi  bugioni  s(cultore)  et  m"  Zanobi  lastricati  s 
i  q'li  (quali)  in  copagnia  del  proveditore  doves- 
sino  saldare  detti  conti 
[Archiv.   idem,   Accademia   idem,   Giornale  e  Ricordi   detto  Libro  del 

Proveditore,   1571-1575,   segnato  Arti  2y,   Cod.   25,  c.    16;  published   in 

L'Arte,  XXII  (i9i9),248.] 

20.     Continuation  of  the  same,  1 562-1 574. 

"+  1562 
Tornata  Adi  23  di  Maggio 

23     Da  santi  buglioni  1  12  s" 

[Archivo  di  Stato,  Accademia  del  Disegno,  Entrata  e 
Uscita  1562-1585,  segnato  Arti.  27,  Cod.  loi,  c.  3*.] 

"  +  1563 
Tornata  Adi  18  dottobre     * 
23     Da  santi  di  Michele  buglioni  s  8  —  1  —         8     — " 

[Idem,  c.  5] 

"+  1563 
E  adi  12  di  febrajo  dalla  cassetta  delle  limosine 


X 


Ix  BENEDETTO  AND  SANTI  BUGLIONI 

23     Da  santi  di  michele  bujonj  s  sei  otto  —  1  —  s     6       8" 

[Idem,  c.  6] 

"Tornata  adj  8  ottobre  1564 
23     Da  Santj  di  michele  bugljonj  s  14  1  —  s  14" 

[Idem,  c.  7] 

"Tornata  adj  1 1  di  marzo  1 564 
23     Da  Santj  di  Michele  buglioni  s  13  —  4  reco  lui      —    1  —  s  13  —  4" 
[Idem,  c.  8*] 

"Adi  9  di  febraio  del  (15)65 
23     Da  Sante  Buglioni  soldi  venti  —  1     I       '— " 

[Idem,  c.  11] 

"+  1566 
Entrata  tenuta  per  me  Santi  di  tito  depintore 
cominciata  questo  di  12  di  magio  1566 
Da  santj  di  michele  s  dieci  a  suo  c5to  ogii 

questo  di  dco  di  sop(r)a    1  —  s   10" 

[Idem,  c.  12] 
"Da  santi  di  tito  chamarlingho  passato  lire  sette 
s  4  sono  p(er)  resto  del  suo  charmalingaticho  Rivisto 
p(er)  santi  buglioni  questo  di  sopradetto  —        1  7  s  4" 

[Idem,  c.  12*] 
"Entrata  tenuta  p(er)  me  Zanobi  di  bernardo  lastrjcalj 
Schultore  comjciando  oggi  q°  dj  11  dj  maggio  1567 

23     Da  santi  buglionj  s  13  dj  4      1  —  s  13       4" 

[Idem,  c.  7] 

"Addi  7  dj  setenbre  1567 

Da  santj  buglionj  1  una  contantj  1  i" 

[Idem,  c.  15] 

"Tornata  addj  13  di  gugnjo  1568 
19     Da  Santj  dj  michele  buglionj  soldi  tredjcj  dj  4  —  1  —  s  13  —  4" 
[Idem,  c.  16*] 
"Entrata  tenuta  p(er)  me  santi  di  tito  pittore  comin 
ciata  adj  13  di  febraio  1568  e  tornata  di  dco 

19     Da  santi  buglioni 1         s  13   .   4" 

[Idem,  c.  18*] 

"E  adi  18  di  ottobre  1572 
Tornata  adj  dc5 
19     Da  Santi  di  buglioni  scultore  1  dua  s  dieci  adi 

3  di  nov(en)b(r)e  1572         1     2  s  10" 

[Idem,  c.  28*] 


BENEDETTO  AND  SANTI  BUGLIONI  Ixi 

"Tornata  addi  14  dj  dice(n)b(r)e  1572 
19     Da  Santi  buglionj  scultore  1  tre  s  nove  dj  8 

p°  (porto)  coti  il  dco  p"  (proveditore) )  —         1     3  s  9     .8" 

[Idem,  c.  30] 

"Tornata  adi  14  di  gugnio  (1573) 
19     Da  santti  buglioni  1  dua  e  per  liii  da  piero  sopradetto  1     2  s  — " 
[Idem,  c.  32'] 

"Adi  primo  di  setebre  1573 
36     Da  santi  bulioni  s  tredici  di  quatro  recho  iachopo  —  1  —       13       4" 
[Idem,  c.  33] 

"addj  X  dottobre  1574 
36     Da  santi  buglionj  Ijre  una  aconto  dj  sua  tassa  1     i" 

[Idem,  c  38] 

"+  yhs  MDLXXIIII 
Adj  4  di  novenbre 
36     Da  santi  di  michele  scultore  p(er)  sua  tassa  1  una  —  1     is  — " 
[Idem,  c.  39] 

21.     Revision  of  the  accounts  of  the  Accademia  by  Santi  Buglioni  and 
others,  1 563-1 567. 

"+  adi  16  di  marzo  1563 
Rivisto  per  nnoi  (noi)  io  pierf  (pierfrancesco)  e  sanntti  di  mj 
michelle  bugllioni  el  chonntto  all  sopradetto  chamarlligho 
restagli  nelle  mani  chome  si  vede  lire  cinnquanntatre  e 
soldj  6  danari  8  chome  si  vede  innquesto  —  1  53.6.8" 

[Idem,  c.  103']     (In  Pierf rancesco's  handwriting) 
"Adi  10  di  febrai  del  (15)64 
Rivisto  p(er)  me  santj  bugl  (buglioni)"  (Santi's  handwriting) 
[Idem,  c.  108'] 

"1566 
Rivisto  p(er)  me  santj  bugl  (buglioni)"  (Santi's  handwriting) 
[Idem,  c.  109] 

"1567 
Rivisto  p(er)  noi  santj  di  michele  e  Rub(er)to  di  filipo"   (Santi's  hand- 
writing) 
[Idem,  c.  112] 

"Addi  12  dj  settenb(r)e  (1574) 
E  addi  detto  da  santj  buglionj  lire  una  accoto  dj 

sua  tassa  reco  iacopo         1  i  — " 

[Idem,  c.  125] 

22.     Accounts  of  Santi  Buglioni  with  the  Accademia,   1 568-1577. 
"+  yhs 
Santi  buglioni  formatore  de  dare  1  tre  p(er)  la  tassa 


Ixii  BENEDETTO  AND  SANTI  BUGLIONI 

da  di  p(ri)mo  di  maggio  1568  p(er)  insino  adi  31  dotobre  1569 

a  ragione  di  1  dua  lan(n)o        —  1  3  — 

E  de  dare  1  dua  p(er)  la  tassa  chomica  adi  primo  di 

novenbre  1569  p(er)  insino  adi  31  dotobre  1570        1  2    — 

E  de  dare  1  una  sono  p(er)  la  tasa  di  sei  mesi  comiciatti 

adi  p(rim)o  di  noveb.  (15)70  e  finiscie  p(er)  tuto  aprille  (15)71  —  1  i  — 

E  de  dare  1  una  p(er)  la  tasa  di  6  mesi  comicatti 

adi  p(rim)o  di  magio  e  forniscie  (finiscie)  p(er)  tuto  otobre  (15)71  — 

1  I  — 
E  de  dare  1  dua  p(er)  la  tassa  dadi  p(rim)o  dicjenbre 

1 571  p(er)  tutto  ottobre  1572         —         —         1  2  — 

in  qsto  a  c.  36" 

"+  yhs 

Santi  di  michele  bulioni  de  av€re  s  tredici  di  quatro 

chome  aetrata  c.  16    • —  1  -  s  13  di  4 

E  de  avere  s  tredici  chome  apare  aetrata  de  chamarligho  c.i8  1  -  s   13  di  4 
Santi  di  contro  de  avere  1  dua  s  diesi  adi  3  di 

novenbre  1572  come  antrata  c.  25  1  2  s  10 

Santi  di  contro  de  avere  1  tre  s  nove  dj  otto  come 

antrata  adi  11  di  gennaio  1572  c.  30        1  3  s  9  —  8 

Santi  buioni  de  avere  1  dua  come  antrata  adi   14 

di  giugnio  1573  c.  32         —         —         —         —         —         l2s  — " 

[Archiv.  idem,  Accademia  idem,  Libro  Deb.  e  Cred.  per  conto  di  tasse 
1567-1577,  segnato  Arti  2y,  Cod.  123,  c.  18*.] 

/'+  1572 
Santi  di  michele  buioni  de  dare  1  dua  dadi  p" 

di  9enbre  (novenbre)  1572  p(er)  sua  tassa  p(er)  tutto  ottobre  1573  1  2  — 
E  de  dare  adi  p°  di  9enbre  1573  1  dua  p(er)  la 

tassa  p(er)  tutto  ottobre  1574        —        —        —        1  2 

E  de  dare  adi  p°  di  9enbre  1574  1  dua  p(er)  tutto  ottobre  1575  —  1  2 
E  de  dare  dadi  p°  di  novemb(r)e  1575  p(er)  sino  addi  p° 

di  maggio  1576  p(er)  sua  tassa  di  sei  mesi         1  i 

E  de  dare  dadi  p"  di  maggio  p  sino  adi  p"  di 

novemb(r)e  1576  p(er)  tasa  di  sei  mesi  passati  —  1   i  — 

E  de  dare  Hre  una  dadi  p°  di  novemb(r)e  1576  p  sino 

addi  p°  di  maggio  1577  p(er)  sua  tassa  di  sei  mesi 

passati        1   i 

19" 
[Idem,  c.  19] 

Santi  di  contro  de  avere  adi  11  ottobre  1573 

s  tredici  di  q(u)atro  come  ajntrata  c.  33 1  —  s  13 — 4 


BENEDETTO  AND  SANTI  BUGLIONI  Ixiii 

E  de  avere  in  q(u)esto  a  c.  19  s  sei  di  q(u)atro  tanti 

segli  fanno  buoni  al  suo  conto  c.  19         1  —  s     6.4 

Santi  di  contro  de  avere  adi  11  dottobre  1573 

s  tredisi  dj  q(u)atro  come  ajntrata  c.  33  1  —  s  13  .  4 

E  de  avere  adi  12  di  settenbre  1574  1  una  come 

antrata  c.  38  —        —        1     is  — 

E  de  avere  adi  14  di  9  enbre  1574  1  una  come 

antrata  c.  39        —        —        —        —        —        —        —    lis  — 

E  de  avere  lire  q(u)atro  s  7  p(er)  tanti  posto  dare  in  q"  c.  60  1     4  —  7 

E  de  avere  lire  una  pero  non(h)a  a  ire  debitore  de 

sei  mesi  al  (error)  da  novemb(r)e  a  maggio  1577  p(er)che 

era  morto  —  1     i  — 

t  1  9" 

[Idem,  c.  35*] 

"+yhs  Me  MDLXXVIJ 
+  Santi  di  michele  bulioni  formatore  de  dare  lire 
quattro  soldie  sette  p*  (piccioli)  per  resto  di  sua 

tassa  a  novenb(r)e  1576  come  in  q°  avere  c.  35  I4  .  7 — " 

+ 

[Idem,  c.  59*] 

"+  yhs  Me  MDLXXVIJ 
Santi  di  bulionj  di  contro  de  avere  addi  13  di 
ottobre  lire  dua  p'  p(er)  a  conto  di  tassa  recho  detto 
a  entrata  c.  50 1 2  — " 

[Idem,  c.  60] 

23.     Santi's  accounts  with  S.  Maria  Nuova,  for  rental  of  house,  1533- 
1534. 

"Santj  di  michele  dare  f  17  l2iip'223^" 

[Archiv.  del  R.  Arcispedale  di  S.  Maria  Nuova,  Libro  Fitti  e  Livelli  E 
1532-1551  c.  25.] 

"Santi  di  michele  de  avere ■ — 

(here  follow  rent  payments  for  a  total  of  f.  13  1  10 
"1533  E  adj  7  dottobre  sino  adj  ....  1  viij  plj  rischosse 

bernardo  biliottj  posto  dare  alibro  s*°  k  c.  303 —  f  17  — 
[Idem,  c.  xxv] 

"+  yhs  Me  (Marie)  MDXXXIIip 
R(icord)o  Santj  di  michele  schultore  de  dare  p(er) 

tantj  posto  debbj  avere  1  q(uesto)  c  25  p(er) 
resto  di  q(ues)to  chontto  a  c.  25      f  -  1  2.0. 11  p'  20^  caponj'* 
[Idem,  c.  144] 


Ixiv      •  BENEDETTO  AND  SANTI  BUGLIONI 

"+  yhs  Me  MDXXXIIIJ" 
Santi  di  michele  dichonttro  de  av(er)e  addj 
5  di  settenbre  1  tre  s  x  pli  R(ech)o  g(iovann)i 

alb(er)tjnj  conttanti  a  entrata  Nc.  91  —  f  —  I310  — 

E  addi  27  di  otobre  1  iij  s  x  plj  R"  (recho) 

gi  alb(er)tjnj  a  entrata  N  c.  loi  —  f  —  1  3   10  — " 

[Idem,  c.  cxliiij;  published  in  L'Arte,  XXI  (1918),  196.] 

"+  yhs  MDXXXJ" 
Bernardo  di  matteo  biHottj  nostro 

rischotitore  de  dare 

E  addj  31  daghosto  1532 

E  de  dare  1  quaranta  dua  plj  rischosse  da  santj 

di  michele  schultore  apare  alib(r)o  fitti  s*°  E  c.  25  —  f  6  i  — 

E  de  dare  adj  31  dottobre  1532  .    .    .    . 
E  piu  1  vij  plj  disse  avere  riscosse  da  santi 
schultore  schritta  di  sua  mano  jn  sul  fogljo 

a  m.  agnolo  dant°  de  Morssi  detto  fitte  c.  25  f  i  — 1 — " 

[Idem,  c.  cxliiij.] 

24.  Santi  Buglioni,  now  blind,  is  absolved  from  dues  to  the  Academy, 

1575- 

"+  yhs  m'  MDLXXV 
Addj  8  di  Gennaio  1575 
Grazia  fatta    Ricordo  come  essendosj  ragunata  laccademia  nella 
a  m  bantj        no(st)ra  solita  tornata  nella  nunziata  e  p(er)  che  essendo 
che  no  ""^  santj  Buglionj  cascato  in  infermita  desser(e)  cieco 

paghj  la  prego  laccademia  che  lo  dovessj  assolvere  da 

la  tassa  tutte  le  tasse  obblighj  che  fussino  in  suo  pre- 

or  inana         j^^-o  (^pj-gju^jzio)  dove  che  essendosj  ragunatj  si 
accademia         niette  a  partita  e  cosi  fu  vinto  p(er)  fave  nere  30 
e  j*  bianca  e  di  tanto  fo  ricordo." 

[Archiv.  idem,  Accademia  idem,  Giornale  e  Ricordi  detto  Libro  del 
Proveditore,  1571-1575,  Segnato  Arti  27,  Cod.  25,' c.  44;  published  in 
L'Arte,  XXII  (1919),  248.] 

25.  Death  of  Madonna  Francesca  di  Santi  Buglioni,  Aug.  1566. 

"Agosto  1566 
M'  Franc"  di  Santi  Buglioni  sep(olt)a  i  s"  bernaba  Adi  6" 

[Arch,  di  Stato,  Ufficio  della  Grascia,  Libro  dei  Morti,  1 561-1580,  c. 
126.] 


BENEDETTO  AND  SANTI  BUGLIONI  Ixv 

26.  Death  of  Santi  Buglioni,  Dec.  2^,  1576. 

"MDLXXVI 
Santi  di  michele  viviani  s"  m"  m"  (maggiore)  Qbre  (novembre)  2^]  (15)76." 
[Arch,  di  Stato,  Arti.  6,  Cod.  253.  Libro  de  Morti,  1570-1591,  c.  324'.] 
"Addi  xxvi  daprile  1576  (1577) 
A  il  sagrestano  della  nonziata  Hre  cinque  e  soldi  cinque  per  tante  messe  per 
lanima  di  di  santi  date  in  nota  che  ascendono  alia  somma  di  numero  venti 
uno  —  1  5  —  5  — " 

[Arch.  d.  Stato,  Accad.  del  Disegno,  Entrata  e  Uscita,  1 562-1 588,  segnato 
Arti  27,  Cod.  loi,  c.  131.] 

27.  Accounts  of  Michelangelo  di  Santi  and  of  his  sister,  Maria  Fortini, 
1 576-1606. 

''Michelagniolo  dj  S*'  di  Michele  di  S"  schultore  de  dare 
Adj  28  di  febraio  1576  f  4.0.2  da  santj  di  michele 

suo  padre  g"^  detto  a  c.  402  arroto  dj  n°  373         f  4  2 

Adi  30  di  luglio  1579  fi  —  o  —  5  da  franc"  e  altri 
dj  Alesandro  Martellj  g"^  dj  d°  (drago)  s*°  g"*  a  c.  226 

dj  n°  121      f  I 5 

Adi  26  di  Gen'"  1580  f  —  9  —  p(er)  casa  n°  319 f  —  9     — 

5-9-7 
A  31  di  Mag°  (15)89  S3  da  m'  Cat"  lunelli  vaio  a  c.  401 

n  48 f  —  3     — 

A  29  di  9be  (novembre)   (15)89  f  —  da  contadinj  dj  n°  204  f 

A  3  di  Gen°  (15)90  s  9.7  da  contadinj  di  n°  241    f  —  9     .7 

A  2  dap(ri)lei592  s  2  —  da  contadinj  di  n°  19    f  —  2     — 

6.4.2 
Michelag'"  di  cdtro  de  havere 

adj  31  di  Maggio  1581  f  —  3. 11  a  Ag  °  (Agnolo)  di 
Ghezzo  (?)   della  Casa  Drago  S.  Gio.  a  c.   143  n"  92     —     f  —  3    -H 
Adi  5  di  maggio  1583  f  2.10.5  p(er)  casa  p(er)  uso  di  n°  315  f  2  10       5 
Adi  28  di  sett  (15)83  f  i  —  5  a  benj  di  B'°  del  palagio 
vaio  a  c.  589  n°  208    f  i  —       5 

3-I4-7 
Adi  28  di  m"  (15)86  fi.5.2  a  suor  faustina  Bettinj 

vaio  a  c.  563  n°  37     f  i    -5      .2 

Adi  30  di  Mag"  1592  fi.4.3  a  luj  detto  in 

q°ac  71  n"  75    f  i    .4     ,3 

f   6.4.2" 
[Archivio  di  Stato,  Archivio  delle  Decime,   Anno   1532,  Quartiere  di 
Santo  Spirito,  Gonf.  Nicchio,  segnato  Cod.  13,  c.  63.] 


Ixvi  BENEDETTO  AND  SANTI  BUGLIONI 

"Michelagniolo  di  Santi  di  Michele  Viviani  de  dare 

Adi  30  di  Mag°  1592  fi.4.3  daluj  detto  in  q°  a  c  63        —        f  1.4.3 


A  26  di  8b(r)e  1606  f  i  .9. 5  da  m"  Maria  fortinj 

inq°ac74  — 150—  f  1.9-5 

[Idem,  c.  71] 
M"  Maria  V  Donna  fu  di  iacopo  fortini  e  fig" 

di  santi  viviani  de  dare  Addi  28  di  Giug"  1600 

fi.9.5  p(er)   casa  apigionata  di  nuovo  n°  67  f  1.9.5 

M'  Maria  di  cotro  de  avere  adj  26  di  8b(r)e 

1606  fi.9.S  A  Michelagniolo  Viviani  in  q°  a  c.  71  —  140  —  f  1.9.5 
[Idem,  c.  74] 


II.     CATALOGUE  OF  MONUMENTS 


II.     CATALOGUE  OF  MONUMENTS 


1 480 1 490 


1     STEMMA  OF  POPE  INNOCENT  VIII.     1484-1492.     Rome,  Vati- 
can, Sala  Borgia.    Photo.,  Alinari,  11874;  Brogi,  16414. 

Supported  by  two  Rossellinesque  angels  is  a  large  wreath  of  continuous 
fruit  and  flowers,  in  style  resembling  those  on  the  vault  of  the  refectory  of 
S.  Pietro  dei  Cassinensi,  Perugia,  documented  works  of  Benedetto  Buglioni. 
The  wreath  encloses  a  blue  disk  against  which  is  set  a  beribboned  Tuscan 
shield  bearing  the  Cibo  arms  (Fig.  i)  :  Gules,  a  bend  chequy  argent  and 
azure;  in  chief  argent  a  cross  of  S.  Georgio  da  Genova  gules.     Above  the 


Fig.  I. — Stem  MA  of  Pope  Innocent  VIII. 

shield  is  the  Papal  tiara,  and  keys  in  saltire  or  and  azure,  indicating  that 
these  are  the  arms  of  that  most  illustrious  member  of  the  Cibo  family, 
Giovanni  Battista,  who  was  Pope  from  1484  to  1492  under  the  name  of 
Innocent  VIII. 


Bibl. : 


Begni,  126;  Cr.,  353;  M.,  R.  H.,  66,  Fig.  67. 


'•V  !••'•  :•';  ^.''  '•:  BENEDETTO  AND  SANTI  BUGLIONI 

2     CHRIST  IN  HADES.    1484.    Florence.    S.  S.  Annunziata  (S.  Maria 
de'Servi).    Garden  (formerly). 

Vasari,  in  his  life  of  Verrocchio,  attributes  to  Benedetto  Buglioni  a 
Resurrection  and  Angels  in  the  church  of  the  Servi  near  the  chapel  of 
S.  Barbara. 

Milanesi,  in  a  note  to  Vasari  (II,  184,  note  i;  III,  375,  note  2),  states 
that  the  Resurrection  in  the  Cappella  de'Falconieri  of  the  church  is  by 
Agostino  di  Duccio,  and  that  in  the  garden  was  a  glazed  terra-cotta  relief 
by  Benedetto  Buglioni  made  in  1484  and  representing  Christ  freeing  the 
Patriarchs  from  Hades.  Fabriczy,  in  the  Rivista  d'Arte,  II  (1904),  139, 
published  the  document  on  which  Milanesi's  assertion  was  based.  Un- 
fortunately the  relief  itself  has  disappeared,  which  is  the  more  regrettable 
as  this  subject,  familiar  enough  in  Italian  painting,  does  not  elsewhere 
occur  in  the  works  of  the  Robbia  school. 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

I.  "Ricordo  chome  q(uest)o  di  20  dimaggio  1484  chome  benedetto 
digiovannj  ischarpelatore  se  obrighato  alchonvento  de  servj  di  fare  una 
tavola  inchapo  delorto  nel  tabernacholo  di  terra  chotta  di  mezo  Rilievo  dj 
ent(r)ouj  la  storia  delinbo  delaquale  avere  p(er)  sua  faticha  e  p(er)  mat- 
terie  metera  indetta  tavola  1  cento  di  piccioli  cioe  1  cento  e  qualj  avere  in 
q(uest)o  modo  cioe  al  presente  f  quattro  larghi  doro  inoro  e  quando  ara 
chomesso  insieme  e  pezj  di  detta  avere  altrj  f  q(u)attro  larghi  inoro  e 
q(u)ando  lara  fornita  e  messa  suso  che  sia  achoncia  e  fornita  di  tutto  alora 
gli  abiano  adare  e  resto  insino  a  1  cento  intendedosj  le  dette  istorie  deluscio 
nela  forma  chome  glj  lavora  q(u)elle  delarobia  e  p(er)  chiareza  di  cio 
sisoschrivera  qui  di  a  pie  di  sua  mano  e  hobrigasi  dave(r)la  fornita  in- 
tenpo  e  termine  di  mesj  dua  prossimj  avenire 
lo  benedeto  sopradeto  sonchontento  a  quanto  disopra  sichontiene 
e  per  ciareza  di  cio  mi  sono  soscrito- 

posto  creditore  alibro  azurro  d,  c.  117" 

[Archivio  di  Stato,  Sant™'  Annunziata,  Ricordanze  B  dal  1477  al  1494, 
segnato  Corp.  Sopp.  119,  Cod.  49,  c.  97.] 


BENEDETTO  AND  SANTI  BUGLIONI  5 

2.  "+  MCCCCLXXXIIIJ  "       +  MCCCCLXXXIIIJ 
Benedetto  digiovannj   ischarpelatore             benedetto  digiovannj 

de  dare  adi  lo  dimaggio  1484  ischarpelatore  de 

f  quattro  larghi  doro  inoro  avere  f  4  larghi  inoro 

porto  luj  detto  chontantj  sono  posto  debbj  dare 

p(er)  parte  di  1  100  p(er)  fare  una  alibro  Azurro  s'" 

tavola  diterra  di  mezo  d  c  117-  1  24  s  12-" 

Rilievo  chome  apare  ale 

richordanze  B  c  93  a 

uscita  s*°  d  c  139-         1  24  s  12-" 

[Idem,  idem,  Cod.  197,  Libro  Giallo  C  (1478-1484),  c.  434.] 

3.  "Al  dj  18  di  maggio  1484 

A  benedetto  di  giovanni  ischarpelatore  adi  decto  (20) 
f.  quatro  larghi  doro  in  oro  porto  lui  detto  contanti 
sono  per  parte  di  lib.  cento  per  fare  una  tavola 
di  terra  cotta  di  mezo  rilievo  come  appare  alle 
Ricordanze  B  c.  97  al  Quaderno  c.  89  al  libro  giallo 
seg*"  C.  c.  434.  1  24  sol-  den-" 

[Archiv.  idem,  Chiesa  della  SS"""  Annunziata,  Libro  Entrata  e  Uscitii 
(1482-1486),  segnato  Corp.  Sopp.  119,  Cod.  247,  c.  139;  published  in 
L'Arte,  xxii  (1919),  107.] 

4.  "Octobre  1484 

A  benedetto  di  giovannj  scharpellatore  adj  16  di  detto 
f .  quatro  larghj  in  quatrinj  a  lib.  sei  sol.  uno  per 
fiorino  porto  luj  detto  per  parte  duno  lavoro  fa  a 
capo  allorto  al  Quaderno  c.  ioi3(?)  ea  Libro  ...  117 

1  24  sol  4  den-" 
[Archiv,  idem.  Cod.  idem,  c.  167*;  published  in  L'Arte,  XXII  (191 9), 
107.] 

5.  "Magio  1485 

A  benedetto  di  giovannj  scharpelatore  adj  decto  (6) 
f .  4  larghi  in  moneta  a  lib.  6  sol.  i  per  fiorino  porto 
luj  decto  per  parte  della  tavola  dell  orto  al  Quaderno 
c  . .  .  e  a  Libro  (Giallo),  c.  117  1.  25  sol  4  den-" 

[Archiv.,  idem.  Cod.  idem,  c.  203;  published  in  L'Arte,  XXII  (1919), 
107.] 

6.  "Luglio  1485. 

A  m°  ant°  n°  ge  (these  3  words  cancelled)   Giovannj  scapellatore  adj 
detto  (16)  f  due  larghi  in  moneta  porto  giovanj  d(e)c(t)o  p(er)  b(e)- 


6  BENEDETTO  AND  SANTI  BUGLIONI 

n(e)detto  siio  figluolo  p(er)  parte  deltabernacholo  acapo  allorto  al  quaderno 
c-  e  alibro  (giallo)  117  1  12  s  2  d" 

[Idem,  idem,  Cod,  idem,  c.  218;  published  in  L'Arte  XXII  (1919),  107.] 


7.     "+  MCCCCLXXXIIIJ 
Benedetto  digiovannj  ischarpelatore  de 
dare  f  q(u)atro  larghi  inoro  posto  debbj 
avere  alibro  giallo  s*°    c    0433/4 
autj  p(er)  parte  di  1  icx)  p(er)  fare  una 
tavola  di  terra  chotta  di  mezo 
Rilievo  chome  apare  ale  richordanze 


1  24  s  12- 


"+  MCCCCLXXXIIIJ 
Benedetto  di  giovannj 
ischarpelatore  de 
avere  1  cento  sono 
p(er)iltabernacholo 
delorto  che  cho- 
messo  nelachapella 
maestra  delorto 
a  uscita  d  c  223- 1  100  s- 


1  24  s  12- 


1  24  s  12- 


6- 


posto  Orto  dare 
In  q.  c  304 


s  °  b  c.    139-  - 
E  de  dare  adi  16  dottobre 
f  q(u)attro  porto  luj  detto  in 
chontantj  1  24  S4  di  moneta 
a  uscita  s*°d  c  203-  - 
E  de  dare  adi  6  di  maggio  1485 
f  q(u)atro  larghi  porto  luj  detto 
p(er)  parte  delatavola  delorto 
a  uscita  s*°d  c  203-  - 
E  de  dare  adi  6  diluglio 
f  dua  larghi  porto  giovannj 
suo  padre  a  uscita  s*°  d  c  218-  1  12 

86.2 
E  de  dare  adi  21  dottobre 
1  tredicj  s  xviij  porto  giovannj 
suo  padre  a  uscita  s*°  d  c  232-  1  13  s  18-  " 

1  100 
[Archiv.  idem,  Cod.  198,  Libro  Azzurro  D  (1484-1493),  c.  117.] 

8.  "Ottobre  1485. 

A  benedetto  di  giovannj  scarpellatore  adj  decto  (21)  lib.  tredicj  sol. 
diciotto  sono  per  resto  della  tavola  che  e  in  capo  allorto  e  per  luj  porto 
giovannj  suo  padre  al  Quaderno  c.  171  e(a  Libro  Giallo)  c  117.  lib.  13  sol. 
18  den- 

[ Archiv.  idem.  Cod.  idem,  c.  232*;  published  in  L'Arte,  XXII  (1919), 
107.] 


Bibl. 


Baldinucci  VI,  18;  Bombe,  in  B-Th.,  Lex.,  s.v.  Buglioni;  C-M.,  144 
Cr.,  250;  Fabriczy,  Riv.  d'Arie,  II  (1904),  139  (Doc.)  ;  R.  G.  Mather, 
L'Arte,  XXII  (1919),  107  (Doc). 


BENEDETTO  AND  SANTI  BUGLIONI  7 

3     STEMMA  OF  RICCARDO   DI  TOMMASO   GUIDUCCI.      1485. 
Pistoia,  Palazzo  Pretorio.    Photo.,  Private. 

Within  a  wreath  of  triplex  bunches  of  fruit  separated  by  transverse  fluted 
ribbons  are  displayed  (Fig.  2)  the  Guiducci  arms:  Per  pale;  dexter,  vairy 


Fig.  2. — Stem  MA  of  Ricardo  Guiducci. 

argent  and  azure;  sinister,  chequy  or  and  gules.     Below  is  a  tablet  in- 
scribed 

RICARDO  A  DI  TOMASOA 
GHVIDVCIA   P(ODEST)AA   1485  A 

The  punctuation  points  are  those  commonly  used  in  Benedetto  Buglioni's 
inscriptions. 

Riccardo  Guiducci  had  already  been  Prior  in  Florence  in  1485, 

Bibl. : 

C.,  s.v.  Guiducci;  M.,  R.  H.,  52,  Fig.  51 ;  P.,  463. 

4  ALTARPIECE  WITH  BUSTS  OF  ISAIAH  AND  DAVID.  1487- 
1488.  Perugia.  Duomo,  Cappella  di  S.  Giuseppe  (Santo  Anello). 
Photo.,  Alinari,  21373. 

The  chapel  where  was  preserved  the  Sant-Anello  or  Ring  of  the  Sposa- 
lizio  having  been  demolished  in  1480,  a  petition  for  a  new  altar  or  chapel 
was  made  by  Era  Bernardino  da  Feltre  on  May  31,  i486.  This  chapel, 
known  as  the  Cappella  di  S.  Giuseppe,  was  entrusted  to  M.  Benedetto  Bug- 
lioni,  "florentinus  sculptor  lapidum,"  who  appears  to  have  received  on  this 
account  200  florins  on  Oct.  31,  1487,  and  a  total  of  427  florins  by  Sept. 


8 


BENEDETTO  AND  SANTI  BUGLIONI 


6  and  8,  1488.  The  Lodo,  or  appraisal,  of  the  altarpiece  was  made  by  the 
well  known  sculptor  Ambrogio  da  Milano  and  by  Filippo  di  Giovanni  da 
Meli,  who  had  been  appointed  the  "arbitratores."  The  Lodo  indicates  that 
the  altar  was  of  stone,  and  that  there  was  an  altar  rail  with  steps  before  it. 
The  detailed  description  referred  to  in  the  Lodo  unfortunately  has  not  been 
discovered. 

Adamo  Rossi  first  assigned  the  half  figures  of  the  prophets  Isaiah  and 
David,  in  a  fine  limestone  known  as  caciolfa,  still  preserved  in  the  Duomo, 
to  this  altarpiece.  They  were  probably  set  in  the  spandrels  beneath  the 
cornice.  This  suggests  an  altarpiece  like  Andrea  della  Robbia's  marble 
altar  at  S.  Maria  delle  Grazie,  Arezzo,  or  like  Rossellino's  in  the  church 
of  Monte  Oliveto,  Naples.  These  relief  busts  are  now  associated  with  a 
God  the  Father  and  a  Pieta,  remains  of  an  altarpiece  made  for  the  Ranieri 
thapel  by  Agostino  di  Duccio. 

Isaiah  (Fig.  3)  bears  a  scroll  inscribed:  ECCE  A  VIRGO  A  CO(N)- 
CIPIE(T)    (Is.  VII,  14);  and  David   (Fig.  4)   one  with  SERVITE  A 


> 


Fig.  3. — Isaiah. 


D(OMI)NO  A  ITEM  A  ORA(TE)  (Ps.  C.  2).    The  lettering  and  punctu- 
ation marks  are  those  used  by  Benedetto  Buglioni  elsewhere. 


Documents: — [Published  by  A.  Rossi.] 

1.  Rossi  states  that  on  Oct.  31,  1487  200  florins  were  paid  for  this 
chapel,  as  recorded  in  Arch,  com(unali)  di  Perugia,  Annali  decemvir,  di 
d(etto)  an(no)  c.  39. 

6  settembre  1488 

2.  Lodo  della  cappella  di  S.  Giiiseppe  in  S.  Lorenzo  di  Perugia  pro- 
nunciato  dai  maestri  Ambrogio  da  Milano  e  Filippo  di  Giovanni  lomhardo 


BENEDETTO  AND  SANTI  BUGLIONI  9 

"Actum  in  palatio  M.D.P.  in  camera  cambi  presentibus  etc.  Franciscus 
petri  de  randolis  de  perusia  porte  heburnee  parochie  sancti  stefani  et  Mari- 
ottus  costantij  de  perusia  porte  solis  parochie  sancti  florentij  superstites 
operum  capelle  sancti  Joseph  facte  in  ecclesia  sancti  laurentij  maioris  ec- 
clesie  civitatis  perusie  cum  presentia  Hcentia  constantini  juliani  ser  gas- 
peris  de  perusia  vni  ex  prior ibus  prefatis  habentis  in  predictis  specialem 
commissionem  ab  aliis  prioribus  suis  sotijs  ex  vna  parte  obligando  res  et 
bona  comunis  perusie  pro  observatione  omnium  infrascriptonum  et 

Magister  benedictus  bruglionis  florentinus  scultor  lapidum  per  se  et 
suos  heredes  obHgando  se  et  omnia  eius  bona  mobilia  et  stabiHa  presentia  et 
futura  pro  observatione  omnium  infrascriptorum  Compromiserunt  et  com- 
promissum  fecerunt  et  elligerunt  in  eorum  arbitros  et  arbitratores  amicos 
comunes  et  amichabiles  compositores  Magistrum  ambrosium  milanensem 


Fig.  4. — David. 

lapidum  scultorem  habitatorem  in  civitate  Vrbini  et  Magistrum  filippum 
lohannis  lombardum  habitatorem  in  civitate  perusie  presentes  et  acceptantes 
ad  omnem  deferentiam  que  esset  et  esse  posset  inter  dictas  partes  super 
fabrica  constructione  et  perfectione  dicte  capelle  per  dictum  magistrum 
benedictum  facte  et  etiam  super  extimatione  ipsius  capelle  tam  de  ferra- 
mentis  et  plumbo  quam  etiam  de  omnibus  aliis  rebus  et  operibus  generaliter 
et  specialiter  per  dictum  magistrum  benedictum  datis  missis  et  factis  in 
dicta  capella  et  pro  contentis  in  scripta  inter  dictas  partes  facta  et  etiam  de 
promissionibus  in  dicta  scripta  factis  quibus  dederunt  plenam  licentiam 
potestatem  auctoritatem  facultatem  et  bayliam  dictas  eorum  diferentias 
videndi  terminandi  laudandi  extimandi  et  extimationem  faciendi  de  dicta 
capella  et  opus  ipsius  de  jure  veritate  equitate  et  de  facto  diebus  feriatis  et 
non  feriatis  et  etiam  feriatis  ad  honorem  dey  presentibus  partibus  et  non 


lo  BENEDETTO  AND  SANTI  BUGLIONI 

presentibus  citatis  et  non  citatis  quorum  laudo  sententie  arbitramento  per 
dictos  arbitros  ferendo  promiserunt  dicte  partes  stare  tacite  et  contente  et 
ab  ipso  non  reclamare  non  ricurrere  ad  arbitrium  boni  viri  et  ipsum  ac- 
ceptare  promiserunt  duraturum  per  otto  dies  proxime  venturos  Renuntian- 
tes  etc.  jurantes  etc.  sub  pena  centum  ducatorum  etc.  et  facere  confessionem 
etc. 

Die  viij  settembris 
Existentes  publice  constituti  coram  presentibus  M.  D.  P.  artium  civitatis 
perusij  existentibus  congregatis  in  camera  capitis  officj  Ambrogius  milan- 
ensis  et  filippus  loannis  lombardus  arbitri  et  arbitratores  amici  comunes 
et  amicabiles  compositores  electi  ut  supra  a  dictis  partibus  prout  latius  ap- 
paret  instrumento  compromissi  manu  meij  notarij  infrascripti  et  volentes 
per  sententiam  diferentiam  et  extimationem  in  eis  commissam  terminare 
devenerunt  ad  infrascriptum  laudum  et  sententiam  vid. 

In  nomine  domini  Amen.  Nos  Ambrogius  milanensis  et  filippus  loannes 
lombardus  arbitri  et  arbitratores  amici  comunes  et  amicabiles  compositores 
ellecti  et  absumpti  a  prefatis  francisco  et  mariotto  superstitibus  fabrice 
capelle  sancti  loseph  et  a  magistro  benedicto  bruglione  florentino  prefato 
sedentes  pro  tribunali  in  quodam  banco  ligneo  existente  in  camera  capitis 
offitij  quem  locum  pro  eorum  juridico  loco  ad  hunc  actum  ellegerunt  et 
deputauerunt  Viso  compromisso  in  nos  facto  per  dictas  partes  et  auctoritate 
et  potestate  et  arbitrio  nobis  per  dictas  partes  concessis  et  attributis  et  visa 
quadam  scripta  facta  inter  dictas  partes  de  opere  et  fabrica  dicte  capelle  et 
visis  promissionibus  hinc  inde  factis  in  dicta  scripta  per  dictas  partes,  et 
visa  dicta  capella  facta  per  dictum  magistrum  benedictum  et  visis  operibus 
factis  in  dicta  capella  et  habitis  etiam  informationibus  de  ferramentis  et 
plumbo  missis  in  dicta  capella  et  intellectis  dictis  partibus  pluries  et  omni- 
bus visis  que  videnda  fuerunt  et  sunt  Christi  eiusque  gloriose  Virginis 
marie  nominibus  invocatis  talem  inter  dictas  partes  sententiam  laudum 
arbitramentum  damns  et  proferimus  Quia  dicimus  sententiamus  laudamus 
et  arbitramur  et  extimamus  dictum  opus  dicte  capelle  sancti  loseph  omni- 
bus computatis  factum  per  dictum  magistrum  benedictum  fore  et  esse  va- 
loris  et  extimationis  quatrincentorum  vigintiseptem  florenorum  ad  rationem 
tredicim  grossorum  florenorum  et  vinus  boleni  veteris  pro  quolibet  floreno 
Et  in  dicta  quantitate  condempnamus  dictos  superstites  ad  dandum  et 
soluendum  dicto  magistro  benedicto  et  etiam  condempnamus  dictum  magis- 
trum benedictum  ad  faciendum  altare  dicte  capelle  cum  petra  seu  lapide  et 
cum  balustis  et  reactare  scalinos  ipsius  capelle  seu  altare  prout  et  sicut  vide- 
bitur  et  placebit  dictis  superstitibus  sine  aliqua  mercede  et  solutione  Et 
ita  dixerunt  extimaverunt  condempnaverunt  et  arbitrati  fuerunt  omni  mel- 
iori  modo  via  jure  et  forma  quibus  magis  et  melius  potuerunt  et  possunt 

Latum   datum   et   in   his   scriptis   similiter   pronuntiatum   et   promulga- 


BENEDETTO  AND  SANTI  BUGLIONI  ii 

turn  fuit  dictum  laudum  sententia  et  arbitramentum  per  dictos  arbitros 
arbitratores  amicos  comunes  et  amicabiles  compositores  sedentes  pro  tri- 
bunali  in  supradicto  loco  sub  annis  domini  Mcccclxxxviij  inditione  vj  tem- 
pore domini  nostri  domini  Innocentij  divina  providentia  papa  ottavi  et  die 
viij  settembris  presentibus  mariotto  lohannis  de  perusia  porte  sancte  sub- 
sanne  parochie  sancti  grigorij  et  bartolomeo  antonelli  de  perusia  porte 
sancti  petri  et  parochie  sancte  marie  de  colle  testibus  ad  predicta  habitis 
vocatis  et  rogatis. 

Presentibus  dictis  partibus  et  dictum  laudum  et  extimatione  acceptantibus 
et  approbantibus  in  omnibus  et  per  omnia."  • 

[Archiv.  com.  di  Perugia.  Annali  decemvir.,  1488,  c.  82.] 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Buglioni;  Fabriczy,  Riv.  d'Arte,  II  (1904). 
140.  Guardabassi,  188;  Marrari,  Apologetus,  1865,  iv,  362;  Murray, 
Central  Italy,  220;  Pointner,  196-201,  Taf.  21 ;  A.  Rossi,  Gior.  d'Erud. 
artistica,  II  (1873),  228-230,  250-254  (Doc). 

5  LECTERN  OR  READING  GALLERY.  1487-1488.  Perugia. 
Monastery  of  S.  Pietro  dei  Cassinensi.  Refectory.  Polygonal.  H., 
1.12m.;  W.,  2.15m.     Photo.,  Private. 

The  Benedictine  monastery  dedicated  to  S.  Pietro  was  founded  by  monks 
from  Monte  Cassino,  in  the  tenth  century. 

There  is  a  lectern  or  reading  gallery  on  the  wall  of  the  refectory,  three 
tondi  on  the  vaulted  ceiling,  and  a  lavabo  in  the  adjoining  corridor.  The 
archives  of  the  monastery  show  that  Benedetto  Buglioni  received  for  them 
forty  large  golden  ducats  on  Oct.  28,  1487;  also  that  during  his  absence  in 
Florence  payments  were  made  to  his  brother  Francesco. 

The  lectern  (Fig.  5)  is  set  on  three  stone  consoles  and  is  irregularly 
polygonal,  having  one  long  and  two  short  sides.  The  podium  exhibits  a 
light  blue  frieze,  set  between  upright  and  pendent  white  and  yellow  leaf 
mouldings  and  inscribed : 

QVI  A  EX  A  DEO  A  EST  VERBA  A  DEI  A  AVDIT 
The  central  portion  is  divided  by  pilasters  of  composite  type  into  two 
lateral  and  one  frontal  niche,  the  latter  being  flanked  by  quadrangular 
panels.  The  niches  are  now  empty,  but  formerly  the  central  niche  con- 
tained a  statuette  of  a  long  bearded  monk  robed  in  white  standing  on  a 
base  inscribed:  BENEDET(T)0.  The  upper  part  of  the  niche  is  fluted 
and  coloured  a  mottled  blue,  the  lower  part  a  mottled  green  (serpentine). 
The  empty  niches  may  have  contained  statuettes  of  S.  Pietro  and  S.  Bar- 


12 


BENEDETTO  AND  SANTI  BUGLIONI 


nardino.  Originally  S.  Pietro  may  have  occupied  the  central  niche.  The 
adjoining  panels  seem  to  have  been  painted  in  recent  years  w^ith  a  Papal 
tiara,  the  initials  P.  X.  (Pius  X)  and  other  emblems.    The  cornice  shows 


Fig.  S. — Lectern,  Perugia  (print  reversed). 

a  blue  frieze  between  white  and  yellow  leaf,  egg  and  dart,  and  pearl  mould- 
ings. The  frieze  is  decorated  with  disks  containing  alternately  the  crossed 
keys  of  S,  Pietro  and  small  green  rosettes.  Plain  green  garlands  hang 
from  the  disks. 

Documents: — [Copied   by   Count   Umberto   Gnoli   to   whom   we   make 
grateful  acknowledgment.] 

1.  "1487,  Monastero  de  la  badia  di  fiorenza  de  dare  due.  doro  largi  X  che 

tanti  sono  mandati  al  dicto  monastero  per  m°  benedecto  scar- 
pelino 

E  de  dare  adi  XX  decembre  ducati  octo  doro  largi  che  tanti  li 
monto  el  p.  abbati  d.  tymotheo  per  elp.  [sic]  de  m°  betto" 
[Archivio  di  S.  Pietro  in  Perugia,  Libro  maestro  e  giornale  del 
1487,  c.  34.] 

2.  "MCCCCLXXXVIJ 

M°  Benedecto  de  zuanni  de  fiorenza  sculptore  de  dare  a  di  xiiij 

luio  1487  fl.  nove  s.  80  doro  per  una  sua  ragione.  . 

E  de  dare  adi  xxiij  zugno  fl.  doi  .   .   . 

E  de  dare  adi  30  zugno  fl.  tre 

E  de  dare  adi  xvij  agosto  fl.  tre 

E  de  dare  adi  .    .   .  luio  fl.  doi  s.  septanta 

E  de  dare  adi  xxxi  agosto  fl.  doi  s.  quaranta  sono  per  m.  (mez- 

zinghe)  sei  di  grano  hebe  francesco  suo  fratello 
E  de  dare  adi  26  novembre  1.  septe 
E  de  dare  adi  iij  decembre  fl.  quattro  s.  cinque 
E  de  dare  xx  dicto  due.  sei  doro  .  .  .  dixe  per  mandare  a  firenze 


BENEDETTO  AND  SANTI  BUGLIONI  13 

1488.  E  de  dare  adi  10  de  marzo  fl.  doi  s.  ventecinque 
E  de  dare  adi  20  de  aprile  fl.  doi 
E  de  dare  adi  xiij  de  magio  fl.  doi 
E  de  dare  adi  xxvj  de  zugno  fl.  uno 
E  de  dare  adi  xviiij  de  luio  fl.  uno 
E  de  dare  adi  viiij  de  agosto  fl.  uno 
E  de  dare  adi  xviij  de  octobris  ducati  undeci  largi." 
[Idem,  idem,  c.  no.] 

3.  "MCCCCLXXXVIJ 

M°  Benedecto  de  contro  de  avere  a  di  xviij   de  octobris  due. 
quaranta  doro  largi  che  tanti  li  se  fanno  boni  per  uno  lettorino 
de  pietracotta  et  per  tre  tondi  et  uno  lavello  da  lavare  le  niano 
a  facto  a  lo  refectorio  novo  .   .   .  "  fl.  Ivij  1.  in 
[Idem,  Idem,  c.  no.] 

Bibl. : 

Bombe,  in  B-Th.,  Lex.,  s.v.  Buglioni;  Burckh.,  II,  436;  C-M.,  144; 
Fabriczy,  Riv.  d'Arte,  II  (1904),  140  (Doc);  Guide  Joanne,  It. 
Centr.,  294;  Marrari,  Apologetus,  1865,  IV,  362;  R.  A.  G.  Stuart, 
Perugia,  123,  126;  A.  Rossi,  Giorn.  Erud.  Artist.,  II,  (1873),  251 
note  2  (  Doc.)  ;  Vas.,  II,  185  note  i. 

6-8  (i)  S.  PIETRO,  (2)  MONOGRAM  OF  JESUS,  (3)  S.  BENE- 
DETTO. 1487-1488.  Perugia.  S.  Pietro  dei  Cassinensi.  Refec- 
tory.    Three  medallions.     Diam.,  c.  1.50  m.     Photo.,  Private. 

The  ceiling  of  the  refectory  is  ornamented  with  three  tondi  representing 
S.  Pietro,  the  monogram  of  Jesus,  and  S.  Benedetto. 

1.  S.  Pietro  (Fig.  6)  is  represented  in  white  tunic  and  mantle.  His  nim- 
bus, beard  and  hair,  one  of  the  keys,  and  borders  of  drapery  were  gilded. 
The  hair  and  beard  are  modelled  in  late  Roman,  sponge-like  fashion.  The 
background  is  light  blue.  The  garland  of  fruit  and  flowers  is  not  framed 
by  lateral  mouldings.  It  retains  a  suggestion  of  Andrea's  triplex  bunches, 
but  the  apex  of  each  group  is  usually  accompanied  by  lateral  fruits  or 
flowers.  In  composition  it  is  less  rhythmical  than  Andrea's  or  even  Gio- 
vanni's garlands.  What  little  rhythm  there  is  may  be  described  as  a  suc- 
cession of  transverse  groups  of  2,  3,  2,  3,  2,  3,  etc. 

2,  The  monogram  of  Jesus,  frequently  used  as  a  symbol  of  S.  Bernar- 
dino, consists  of  the  first  three  letters  of  the  name  IH20Y2  (Fig.  7). 
The  first  letter  is  usually  rendered  as  a  Y  to  indicate  its  Greek  origin,  and 
the  second  is  modified  so  as  to  suggest  a  cross.  This  monogram  occurs 
frequently  in  Robbia  works  not  as  a  symbol  of   S.   Bernardino,  though 


14 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  6. — S.  Pietro. 


Fig.  7. — Monogram  of  Jesus. 

frequently  due  to  the  influence  of  his  preaching.  Here  composed  of 
ribbon-like  letters,  yellow  on  blue,  the  monogram  is  surrounded  by  yellow 
flames,  alternately  straight  and  wavy — according  to  Giovanni  della  Rob- 
bia's  practice. 

The  polychromatic  garland  is  composed,  like  the  preceding,  of  transverse 
groups  of  two  and  three  fruits,  flowers  and  wheat,  in  more  or  less  regular 
succession. 


BENEDETTO  AND  SANTI  BUGLIONI  15 

3.  S.  Benedetto,  Clad  in  white  monk's  habit  the  saint  holds  a  book  and 
a  martyr's  palm  (Fig.  8).  The  background  is  light  blue.  The  polychro- 
matic garland  is  composed  as  in  the  preceding  tondi. 

Document  and  Bibliography  as  in  the  preceding. 


Fig.  8. — S.  Benedetto. 

9  CHRIST  AND  THE  SAMARITAN  WOMAN  AT  THE  WELL. 
1487-1488.  Perugia.  S.  Pietro  dei  Cassinensi.  Hall  before  refectory. 
Lavabo.     H.,  2.15m.,  W.,  3m.     Photo.,  Fotog.  dell'Emilia,  Bologna. 

This  lavabo  appears  to  have  been  enlarged,  by  adding  the  pendent  gar- 
land, the  frieze  with  the  flying  angels  supporting  the  Sacred  Name,  and 
still  later  by  the  marble  trough  with  its  five  spouting  cherub  heads  (Fig.  9). 

The  lunette,  with  its  yellow  and  white  egg  and  dart  archivolt  and  its 
base  showing  a  blue  band  between  plain  white  mouldings,  is  complete  in 
itself.  Below  it  originally  was  in  all  probability  a  basin  too  small  for  the 
purpose  it  was  destined  to  serve.  This  may  have  been  a  marble  vase  on 
a  pedestal  like  that  of  the  font  at  S.  Flora,  or  of  the  lavabo  in  the  sacristy 
of  S.  Maria  Novella.  The  subject  of  the  lunette,  Christ  speaking  to  the 
Samaritan  woman  at  the  Well  (John  IV,  4-30)  is  an  appropriate  subject 
for  a  lavabo. 

The  figures  of  the  Samarian  woman  and  of  Christ  are  relatively  small, 
should  we  compare  them  with  the  flying  angels  below  or  even  with  the 
well-top  by  which  they  are  standing.     The  well-top   imitates  a   spotted 


i6 


BENEDETTO  AND  SANTI  BUGLIONI 


marble.     The  brown  rocky  landscape  with  its  ill-defined  trees   forms  a 
background  occurring  frequently  in  Buglioni's  works. 

Document  and  Bibliography  same  as  the  preceding. 


Fig.  9. — Lavabo.    Christ  and  the  Samaritan  Woman. 

10     PIETA.     1488.    Perugia.    Palazzo  dei  Priori.    Camera  del  Capuffizio 
(formerly). 


In  the  Giornale  di  Erudizione  artistica,  II  (1873),  251  note  2,  and  in  the 
Rivista  d'Arte,  II  (1904),  140,  is  published  a  document  indicating  that 
on  Oct.  8,  1488,  Maestro  Betto  (=Benedetto)  was  paid  seven  lire  on  ac- 


BENEDETTO  AND  SANTI  BUGLIONI  17 

count  of  a  Pieta  of  glazed  terra-cotta  for  the  tabernacle  in  the  hall  leading 
to  the  camera  del  Capuffizio.  Count  Umberto  Gnoli  suggests  that  this  Pieta 
may  be  the  one  in  the  church  of  S.  Pietro,  Perugia. 

Document: — [Copied  by  A.  Rossi.] 

"1488,  8  ottobre.  A  M°  Betto  scarpellino  de  fiorenza  per  una  piata 
(Pieta)  de  terra  cotta  invetriata  factace  per  porre  nel  tabernaculo  se  troua 
quando  se  ua  alia  camera  del  Capoffitio  lib  sette." 

[Archivio  della  Computisteria  comunale.  Libro  del  Cappellano,  segn°. 
nuovamente  441,  c.  103.] 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Buglioni;  Fabriczy,  Riv.  d'Arte,  II  (1904); 
140  (Doc.)  ;  A.  Rossi,  Gior.  di  Enidin.  artist.,  II  (1873),  251  note  2 
(Doc). 

11  TOP  OF  NICHE.     Florence.     Museo  Nazionale,  No.  4. 

The  central  shell  is  mottled  blue,  yellow,  white,  violet.  The  arched 
frame  consists  of  a  white  and  yellow  egg  and  dart  and  a  flat  leaf  moulding. 
Yellow  rosettes  at  the  top  and  bases  of  the  arch. 

Bibl.: 

Cr.,  337;  Supino,  436  No.  4. 

12  YOUTHFUL  CHRIST  AND  S.  GIOVANNINO  IN  THE  DES- 
ERT. Fiesole.  S.  Ansano.  Lunette.  H.,  0.76m.;  W.,  1.40m. 
Photo.,  Alinari,  3282;  Brogi,  9835. 

This  lunette  (Fig.  10)  is  not  unlike  the  lunette  of  Christ  and  the  Samari- 


FiG.  10. — Christ  and  S.  Giovannino  in  the  Desert.    S.  Ansano. 


i8 


BENEDETTO  AND  SANTI  BUGLIONI 


tan  Woman  at  S.  Pietro,  Perugia,  in  many  of  its  details.  The  laminated 
rocky  background  with  its  umbrella-like  trees,  as  well  as  the  composition  of 
the  figures,  the  treatment  of  the  draperies,  hair,  and  eye  colouring  enable 
us  to  class  it  as  a  work  of  Benedetto  Buglioni. 

The  irregularly  composed  garland  of  fruit,  flowers  and  wheat,  as  well  as 
the  type  of  egg  and  dart  moulding  point  to  the  same  attribution. 

The  appearance  of  the  youthful  Christ  to  S.  Giovannino  in  the  desert  is 
related  in  the  Meditationes  Vitae  Christi,  Cap.  XI.  (See  Lawrence  F. 
Powell,  The  Mirrour  of  the  Blessed  Lyf  of  Jesii  Christ.     London,  1908, 

PP-  7I-73-) 

Bibl. : 

Burl.,  64,  114;  Cr.,  344. 

13  S.  GIOVANNI  BATTISTA  AND  ADORING  FRATI.  Florence. 
Lo  Scalzo.  Entrance  to  Cloister.  Lunette.  H.,  0.60m.;  W.  1.20m. 
Photo.,  Private. 

S.  Giovanni  Battista,  including  his  haircloth  tunic  and  mantle,  glazed 
white,  holds  a  yellow  cross  in  a  polychromatic  landscape  set  with  rocks  and 
trees  (Fig.  11).  His  eyes  have  blue  brows,  lashes,  pupils  and  iris  boun- 
daries, the  irises  being  left  white. 


Fig.  II. — S.  Giovanni  Battista  and  two  Frati. 

The  two  adoring  Frati  are  hooded  and  gowned  in  black  and   carry 
scourges  in  their  hands. 

•    Bibl.: 

B.  J.,  57;  Burl.,  108;  C-M.,  212  No.  45;  Cr.,  342.      , 


14     S.  GIOVANNI  BATTISTA.     London,  Collection  of  Sir  John  Les- 
lie.    Statuette.    H.,  0.96m. 

The  middle-aged  S.  Giovanni  looks  to  our  left.    His  right  hand  rests  on 


BENEDETTO  AND  SANTI  BUGLIONI  19 

left  breast,  his  left  hand  holds  up  mantle.     Clad  in  hair  cloth,  and  a  skin 
mantle  tied  in  a  knot  over  the  right  shoulder,  the  knot  ends  in  goat's  hoofs. 

15  THE  VIRGIN  ADORED  BY  TWO  MONKS.  Florence.  S.  Mi- 
niato  al  Monte  (formerly).    Lunette. 

According  to  Barbet  de  Jouy,  in  1855  above  a  door  and  toward  the 
interior  of  the  enclosure  of  S.  Miniato  al  Monte  was  a  lunette,  white 
■figures  against  blue,  of  the  Virgin  adored  by  two  monks  with  heads  cov- 
ered bearing  incense.  Cavallucci  and  Molinier  in  1884  record  this  relief  as 
in  the  sacristy  of  the  church.    Its  whereabouts  is  now  unknown. 

Probably  analogous  to  the  lunette  at  the  Scalzo. 

Bibl. : 

B-J.,  (iy\  C-M.,  251,  No.  296;  Demmin,  218. 

16  S.  MARIA  EGIZIACA  IN  THE  DESERT.  Florence.  Museo  del 
'Opera  del  Duomo,  No.  107.  Lunette.  H.,  0.72m.;  W.,  1.44m. 
Photo.,  Brogi,  9704. 

S.  Maria  Egiziaca,  often  identified  with  the  Maddalena,  is  represented 
with  hands  folded,  her  long  hair  reaching  nearly  to  her  feet,  standing  in  a 
rocky  desert  broken  by  a  grove  of  trees  (Fig.  12).  A  spring  ripples  at  the 
right. 


Fig.  12. — S.  Maria  Egiziaca. 

The  rocks  are  coloured  a  light  maroon,  streaked  with  yellow,  green  and 
blue.     The  trees  are  characteristic  of  Benedetto  Buglioni. 

Bibl. : 

B.  G.,  Lives  of  the  Saints,  Apr.  2;  Burl.,  108;  C-M.,  210  No.  29;  Cr., 
340;  Poggi,  Cat.  Mils.  d.  Duomo,  50;  S.,  138,  Abb.  146;  J.  Voragine, 
Legende  Doree,  212-215. 


20  BENEDETTO  AND  SANTI  BUGLIONI 

17     S.  MARIA  MADDALENA.     Florence.     Compagnia  della  Vergine 
Maria.    Lunette  ( ? ) . 

Del  Migliore,  p.  360,  mentions  a  S.  Maria  Maddalena  as  over  the  en- 
trance of  this  Compagnia  della  Vergine  Maria.  Probably  a  lunette,  analo- 
gous to  the  preceding. 


A 

,.,j^ 

W   K 

^.T---- 

it^.^Ji 

.f 

'^^WSSw^^ 

^9^  ??X  ^i^^^ 

"r             « 

^■L  ^^^»^  "^ 

r 

^  '  «a^--   ;^ 

L 

.^j^^ 

^ '"  1  iiiiir'         ^-3 

aii»- 

Fig.  13. — S.  GiovANNiNo,  Cavriglia. 

18-22  (i)  S.  GIOVANNINO  IN  THE  DESERT.  (2)  CANDEL- 
ABRUM BEARING  ANGEL.  (3-5)  BUSTS  OF  S.  ROMOLO, 
S.  STEFANO,  S.  GIOVANNINO.  Cavriglia.  Pieve.  Photo., 
Private. 


I.  5'.  Giovannino  in  the  Desert,  in  a  lunette  measuring  1.05m.  X  I-75iti-' 
robed  in  haircloth  and  fluttering  mantle,  carries  a  cross  and  scroll  (Fig. 
13).     His  eyes  are  painted  in  Benedetto  Buglioni's  manner.     The  land- 


FiG.  14. — Candelabrum- 
bearing  Angel. 


BENEDETTO  AND  SANTI  BUGLIONI 


21 


scape  background,  a  valley  with  brown  stratified  rocks  are  also  character- 
istic of  Buglioni.  The  Giovannino  shows  the  influence  of  Antonio  Rossel- 
lino. 

2.  The  Candelabrum  hearing  Angel,  stupidly  restored  bearing  a  dish,  is 
clad  in  yellow  and  blue  (Fig.  14).  Wings,  hair  and  flesh  are  glazed  white. 
Buglioni  eyes. 

3.  Bust  of  S.  Romolo  or  other  sainted  Bishop  (Fig.  15).     Glazed  white. 

4.  Bust  of  S.  Stefano — on  account  of  his  extreme  youth  he  might  be 


Fig.  15. — Bust  of  a  Bishop. 

called  S.   Stefanino — wears  deacon's  robe  and  has  a  stone  on  his  head. 
Glazed  white  (Fig.  16). 

5.  Bust  of  S.  Giovannino  (Fig.  17).     Glazed  white.     A  replica  of  this 
bust  was  in  the  collection  of  the  late  Col.  Oliver  H.  Payne  of  New  York. 

Bibl. : 

Burl,  67,  113;  Cr.,  336. 


Fig.  16. — S.  Stefano. 


Fig.  17. — S.  Giovannino. 


23     S.  GIOVANNINO  IN  THE  DESERT.     Rome.     Simonetti's.     Me- 
dallion.    Diam.,  im.     Photo.,  Private. 


This  tondo  (Fig.  18)  was  formerly  at  Rossi's.     S.  Giovannini,  in  hair- 
cloth, fluttering  mantle,  and  sandals  (cf.  S.  Ansano  lunette)  nimbed  yel- 


22. 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  i8. — S.   Giovannino  in  the  Desert. 

low,  carries  a  scroll  inscribed:  AGITE  A  PENITE(N)SIAM.    He  is  in  a 
desert,  rocky,  with  light  blue  sky. 

Frame,  t.g%  and  dart  (yellow  eggs)  and  outer  garland  of  fruit,  flowers, 
and  wheat,  in  long,  separate  bunches  variously  composed,  against  blue 
ground  bordered  white. 

24     STEMMA    OF    ALBERTO    LEONCINI     REPAIRED.       1489. 
Amelia.     Palazzo  Comunale. 


The  public  records  of  Amelia  show  that  the  stemma  of  Dom.  Alberto 
Leoncini  of  Spoleto,  exposed  on  the  fagade  of  the  Palazzo  Comunale  at 
Amelia  was  repaired  by  Benedetto  the  Florentine.  It  seems  natural  to 
suppose  that  this  coat  of  arms  was  in  glazed  terra-cotta  and  that  it  was 
repaired  by  Benedetto  Buglioni. 

Document: — [Contributed  by  Count  Umberto  Gnoli.] 
"1489.    VI  Bimestre. 

Magistro  Benedicto  florentino  pro  refectione  armorum  domini  Alberti 
Leoncini  de  Spoleto  bon.  Septuaginta." 

[Archivio  Comunale  di  Amelia,  Libro  dei  Sindacati  dal  1488  al  1497, 
c.  63.] 


1490-1500 


V 


1 490-1500 

25  LAV  ABO.     1490.     Perugia,  Palazzo  dei  Priori  (formerly). 

The  following  note,  discovered  by  Count  Umberto  Gnoli  in  the  archives 
of  Perugia,  indicates  that  Benedetto  and  Francesco  Buglioni  made  a  lavabo 
for  the  Palazzo  dei  Priori  in  Perugia,  for  which  payment  was  made  in 
December,  1490. 

The  whereabouts  of  the  lavabo  is  now  unknown.  It  may  have  resem- 
bled the  lavabo  made  in  1487  for  S.  Pietro  dei  Casinensi,  Perugia.  Ac- 
cording to  Marrari  (Apologetiis,  1865,  V,  362)  Francesco  Buglioni  re- 
ceived payments  in  behalf  of  his  brother  Benedetto  while  the  latter  was 
absent  in  Florence.    Here  both  are  termed  "scarpellini." 

Document : 

"1490  Dec.     Benedetto  Buglione  e  Francesco  da  Firenze  scarpellini 
lavorono  un  lavamano  per  il  Palazzo  dei  Priori  in  Perugia." 

[Arch.  Comunale  di  Perugia.     Vol.  441    (568),  c.   122-123.] 

26  STEMMA  OF  GINO  DI  GIULIANO  GINORI.     1489,  1490.     San 
Giovanni  in  Valdarno.     Palazzo  Pretorio.     Photo.,  Private. 

Within  a  wreath  of  fruit,  flowers,  and  wheat,  in  which  the  fruit  is  ar- 
ranged in  transverse  lines  of  three,  against  a  blue,  fluted  disk  is  set  a  kite 
shaped  shield  (Fig.  19)   containing  the  Ginori  arms:    Azure,  a  bend  or 


1  fIAMO^G-[f:V;P. 
Fig.  19. — Stem  MA  of  Gino  Ginori. 


26 


BENEDETTO  AND  SANTI  BUGLIONI 


charged  with  three  mullets  of  eight  points  of  the  field.     To  this  is  added, 
in  chief,  a  lily  or. 

Below  is  a  horizontal  scroll  inscribed: 

A  GINO  A  DI  GIVE 
lANO  A  GINORI 

A    1489  A   E  1490 
Gino  di  Giuliano  di  Francesco  Ginori  was  a  Prior  of  Florence  in  1455 
and  Gonfaloniere  in  1495. 

Bibl. : 

C.,  s.v.  Ginori;  M.,  R.  H.,  78  Fig.  78;  P.,  460-462. 

27     STEMMA  OF  BERNARDO  DI  LUCALBERTI.    1490.    Scarperla. 
Palazzo  del  Vicariato.     Photo.,  Private. 

Within  a  continuous  wreath  irregularly  composed  of  fruit,  flowers,  and 
wheat,  against  a  blue  disk  a  beribboned  Tuscan  shield  (Fig.  20)  bears  the 
Lucalberti  arms :  Azure,  a  vol  or. 


^;^:^^i^=L^-i 


Fig.  20. — Stemma  of  Bernardo  Lucalberti. 


Below,  on  a  horizontal  scroll  is  inscribed : 
A  BERNARDO  A  DI 
PAZINO  A  DILVC 
A  A  ALBERTI  A  V(ICARI)0  A  1490 


BENEDETTO  AND  SANTI  BUGLIONI 


27 


Bernardo  di  Pazzino  di  Lucalberti  was  a  Prior  in  Florence  in  1469  and 
Gonfaloniere  in  1480. 

Bibl. : 

C,  s.v.  Lucalberti;  M.,  R.  H.,  79  Fig.  79;  P.,  47°;  W.,  150. 


28     RESURRECTION  OF  CHRIST.     1490.     Pistoia.     Museo  Civico. 
Altarpiece.     H.,  2.67m.;  W.,  2.20m.     Photo.,  Private. 

Peleo  Bacci,  in  the  Rivista  d'Arte  II  (1904),  49-63,  published  a  series  of 
documents  from  which  we  gather:  (i)  that  the  Operai  di  S.  Jacopo 
voted,  on  Dec.  15,  1489,  a  sum  of  money  to  be  expended  by  the  priest 
Gaspare  di  Matteo  for  the  ornamentation  of  the  Cappella  di  S.  Jacopo; 
(2)  that  on  May  9,  1490  payment  was  made  to  Maestro  Benedetto 
(Buglioni)  for  an  altarpiece  of  the  Resurrection;  (3)  that  from  May  2^ 
to  June  4,  1490  the  Consiglio  del  Popolo  increased  the  amount  voted  by  the 
Operai;  (4)  that  on  June  17,  1490  their  action  was  ratified  by  the  Operai; 
(5)  that  by  July  28-30,  1490  the  altarpiece  was  finished;  and  (6)  that  on 
Oct.  8,  1490  the  work  was  approved  by  the  priest  Gaspare,  and  Benedetto 
Buglioni  received  his  final  payment. 


Fig.  21. — The  Resurrection  of  Christ,  Pistoia. 


28  BENEDETTO  AND  SANTI  BUGLIONI 

This  altarpiece  (Fig.  21)  remained  in  its  place  in  the  Cappella  di  S. 
Jacopo  above  the  altar  whose  silver  front  was  executed  by  Andrea  d'Ogna- 
bene  of  Pistoia,  Giglio  of  Pisa,  and  Leonardo  di  Ser  Giovanni  of  Florence 
(the  reputed  master  of  Luca  della  Robbia)  until  July  10,  1784,  when  the 
chapel  was  destroyed.  The  silver  altarfront  was  removed  to  the  Cathe- 
dral, but  Buglioni's  terra-cotta  altarpiece  •  did  not  fare  so  well.  It  was 
affixed  to  the  exterior  wall  of  the  garden  of  the  Ospizio  de'  Trovatelli, 
where  it  remained  until  1870,  when  it  was  transferred  in  boxes  to  the 
storerooms  of  the  Ceppo  hospital.  In  1889  it  was  sent  to  Rome  for  an 
exhibition  of  the  Ceramic  Arts,  then  again  boxed  until  Oct.  15,  1893,  when 
it  was  set  up  in  the  Chapter  House  of  S.  Francesco.  It  has  since  been  re- 
moved to  the  Museo  Civico. 

The  composition  of  the  altarpiece  was  not  inspired  by  the  quiet  Resur- 
rection reliefs  of  Luca  or  Andrea  della  Robbia.  The  disturbed  guardians, 
the  angular  angels  and  the  facial  type  of  the  Christ  indicate  rather  the  in- 
fluence of  Verrocchio.  Buglioni  adopts  the  Robbia  convention  of  sur- 
rounding his  relief  by  a  cherub  frieze,  but  the  outer  moulding  with  its 
fringe  of  rosettes  is  an  original  touch.  He  also  shows  his  independence 
by  making  this  composition  exceed  the  limits  of  the  frame.  The  nimbus 
of  Christ  overlaps  the  bust  of  God  the  Father,  making  it  resemble  a  mask; 
the  Croce  del  Popolo  or  Red  Cross  banner  infringes  upon  the  cherub  frieze ; 
and  the  group  of  guardians  obliterate  the  cherubs  and  extends  in  part  to 
the  extreme  outer  limit  of  the  frame.  Though  called  "Maestro"  Buglioni 
has  not  yet  mastered  the  art  of  perspective,  his  angels  and  cherubs  heads 
lack  the  grace  displayed  by  Andrea  della  Robbia,  and  his  treatment  of 
drapery  is  most  elementary.  The  figures  and  sarcophagus  are  glazed  white, 
the  palms  and  olive  trees  green,  the  sky  blue,  and  the  clouds  streaked  with 
yellow  and  white.  The  eyes  of  Christ  show  blue  brows,  lashes,  pupils,  and 
iris  boundaries,  while  the  iris  itself  is  left  white. 

Documents: — [Copied  by  Peleo  Bacci.] 

I.     "Die  XV  mensis  decembris  [1489]. 

Decti  Operai  di  San  lacopo,  absente  Marco  di  lac.  Forteguerri  loro 
compangnio,  congregati  nell'Opera  soprascritta  diliberorono  e  stantiorono 
per  loro  partito  obtenuto  per  fave  tre  nere  del  si  a  prete  Guaspari  di  Macteo 
da  Pistoja  lire  septantasepte  di  denari  in  quel  modo  e  forma  e  come  appare 
al  "Libbro  rosso"  di  decta  Opera  [a  carte]  216,  da  convertirsi  e  spenders! 
in  ornamento  della  Cappella  di  San  lacopo  soprascritto." 

[Arch,  del  com.  di  Pistoia.  Op.  di  S.  Jacopo,  regist.  6,  Cod.  no.  10,  ".. 
115;  a  similar  resolution  in  Latin  may  be  found  in  the  Protocolli  di  Ser 
Piero  di  Jacopo  del  Terchio,  Arch,  di  stato  di  Firenze,  Tom.  356,  c.  3.] 


BENEDETTO  AND  SANTI  BUGLIONI  29 

2.  In  margine:  "M°  Benedetto  schultore. 
Dicta  die  [9  maggio  1490]. 

E'  soprascritti  quactro  operai  di  San  lacopo,  congregati  neH'Opeia 
soprascritta,  diliberorono  per  loro  partito,  obtenuto  per  fave  quactro  nere 
pe  '1  si,  che  il  camarlingo  dia  e  paghi  a  maestro  Benedecto  [Buglioni], 
scultore  da  Firenze  fiorini  sei  d'oro  larghi  per  parte  di  certa  opera,  cioe 
una  Resurexione  da  farsi  per  lui  sopra  I'altare  di  San  lacopo." 

[Idem,  idem,  c.  122*.] 

3.  "[27  maggio-4  giugno  1490-] 

In  margine:  Provisione  [obtenta  in  Consilio]  che  gli  operai  di  San  lacopo 
paghino  a  prete  Guaspari  di  Matheo  insino  alia  somma  di  1  [lire]  xx, 
aciocche  facci  finire  certo  ornamento  che  lui  ha  fatto  fare  sopra  I'altare  di 
San  lacopo. 

Prete  Ghuasparri  di  Matheo  rectore  di  Sancto  Michele  in  Cioncio,  affec- 
tionato  all'Opera  nostra  di  S.  lacopo  facendo  fare  et  accontiare  con  uno^ 
certo  suo  salario  quando  fu  cappellano  di  questo  Palazo  uno  certo  orna- 
mento accapo  a  1'  altare  della  cappella  di  di  (sic)  San  lacopo,  el  quale 
salario  dice  non  essere  a  bastanza  e  mancarvi  denari ;  il  perche  si  e  proveduto 
per  riparatione,  acconcime  e  ornamento  di  decta  cappella  che  e'  presenti 
operai  di  S.  lacopo  dieno  e  paghino  per  insino  alia  somma  di  lire  xx  a  detto 
prete  Ghuasparri  da  spenderli  ad  suo  beneplacito.  El  quale  prete  Ghuas- 
parri sia  tenuto  e  debba  prima  liberare  e  absolvere  e  quietare  decta  Opera 
di  tutto  quello  che  epso  potesse  domandare  a  decta  Opera  pel  servito  del 
presente  Palazo,  cioe  dell'essere  stato  cappellano  di  S.  Agata  a  sacrestano 
di  San  lacopo. 

Die  27  maij,  firmata,  fave  10. 

Die  2^^  maij,  comprobata,  fave  17,  b[ianche]    i. 

Die  iiij  junij,  obtenta  in  Consilio,  fave  64,  b.  11." 

[Arch,  idem,  Provvisioni  dal  1483-1492,  Cod.  68,  c.  248;  also  in  Op. 
di  S.  Jacopo,  Cod.  376,  Stanziamenti  e  deliberazioni  del  Consiglio  dal  1487- 
1516,  c.  17*.] 

4.     "Die  xvij  mensis  junij  [1490]. 

In  margine:  Liberagione  di  prete  Guaspari. 

Item,  come  di  sopra  diliberorono  che  il  camarlingo  dia  e  paghi  per  vigore 
d'una  diliberatione  facta  pe  '1  Consiglio  del  Popolo  a  prete  Guaspari  di 
Macteo,  lire  venti  da  spendersi  per  lui  in  aconcime  e  ornamento  della  Cap- 
pella di  San  lacopo  soprascritto,  con  condictione  che  decto  prete  Guaspari 
sia  tenuto  e  debba  liberare  I'Opera  predecta  di  tucto  quello  potesse  doman- 
dare per  conto  di  suo  salario  quando  fu  cappellano  di  Sancta  Agata  e  sacre- 
stano di  decta  cappella  di  San  lacopo  come  in  decta  diliberatione  si  con- 
tiene  etc.  Et  questo,  presente  decto  prete  Guaspari  e  le  predecte  cose  intel- 
ligente  e  liberante  la  decta  Opera  di  tucto  quello  potesse  domandare  come 


30  BENEDETTO  AND  SANTI  BUGLIONI 

dampno  di  fiorini  sei  d'oro  larghi  paghati  per  loro  a  m  Benedetto  schultore 
per  loro  et  loro  heredi  e  decti  operai  e  loro  heredi  e  beni  conservare  senza 
dampno  di  fiorini  sei  d'oro  larghi  paghati  per  loro  a  m°  Benedetto  Schultore 
da  Firenze  per  parte  d'una  Resurrexione  a  tolta  a  fare  sopra  I'altare  in  detta 
Cappella,  come  appare  per  mia  mano  e  da  ogni  dampno  pena  e  prejuditio 
potessero  incorrere  er  non  fare  dicta  Resurrexione." 

[Arch,  idem,  Op.  di  S.  Jacopo,  regist.  6,  Cod.  lo,  c.  124.] 

5.  "[28-30  luglio  1490]- 

In  margine:  Provisione  [obtenta  in  Consilio]  di  pagamento  da  farsi  per 
gli  operai  di  San  lacopo  al  maestro  [Benedetto  Biiglioni]  che  ha  facto  la 
Resurretione  di  Xristo,  di  rilievo,  sopra  I'altare  di  San  lacopo,  de'  denari 
che  prete  Guaspari  ha  lassato  a  detta  Opera. 

Essendo  ragionevole  che  chi  da  I'opera  e  fatica  sua  sia  satisfatto  e  pagato 
cosi  si  e  proveduto  che  gli  operai  dell'Opera  di  S.  lacopo  da  Pistoja  veghino 
el  foglio  facto  in  tra  gli  operai  passati  di  decta  Opera  e  loro  anticessori  et 
con  quel  magistro  che  ha  facto  quella  Resiirectione  sopra  I'altare  della  cap- 
pella dell'Opera  predetta,  e  paghino  del  salario  rilasciato  in  decta  Opera  ad 
tale  efTecto  da  prete  Guasparri  di  Matheo,  quando  fu  cappellano  di  S.  lacopo 
e  sacrestano  di  detta  cappella  di  S.  Jacopo,  per  insino  alia  somma  di  fiorini 
28  larghi  d'oro  per  prezo  di  detta  Resurrectione  computando  in  decta  som- 
ma fiorini  sei  d'oro  larghi  pagati  per  gli  operai  paxati  a  decto  maestro, 
e'quali  fiorini  sei  larghi  s'intendono  bene  pagati  e  sieno  admessi  ad  essi 
operai  per  loro  ragione,  facendo  fare  detta  opera  secondo  la  continentia  di 
decto  foglio  etc. 

Die  28  julij,  firmata,  fave  9. 

Die  29  julij,  comprobata,  fave  16  b[ianche]  3. 

Die  30  julij,  obtenta,  in  Consilio,  fave  57,  b.  12." 

[Arch,  idem,  Provvisioni  dal  1483  al  1492,  Cod.  68,  c.  252.] 

6.  "A  di  viij  d'ottobre  anno  detto  [1490]. 

Prete  Guaspari  di  Matteo  di  Pistoja  il  quale  ha  avuto  [a]  dichiarare  la 
qualita  della  Resurrexione  posta  e  facta  sopra  I'altare  di  San  lacopo,  sic- 
come  disse,  forma  meliori,  in  nella  scripta  della  logagione  di  tale  opera, 
per  ogni  miglior  modo  etc.,  disse  e  dichiaro  detta  opera,  e  angnolecti  essere 
di  tucta  perfettione  e  bene  facti  secondo  il  tenore  della  conditione  e  allui 
doversi  il  salario  e  prezo  del  quale  si  fa  mentione  in  nella  deliberatione  del 
Consiglio  del  Popullo  della  citta  di  Pistoja,  sotto  di  30  di  luglio  proximo 
passato,  da  dare  a  m   Benedetto  Buglioni,  maestro  di  detta  opera. 

Dipoi  i  soprascritti  operai,  coligialmente  raunati,  per  fabe  quatro  nere 
deliberonno  che  il  camarlingo  dia  e  paghi  al  soprascritto  maestro  Bedetto 
fior.  xxij  larghi  in  oro  per  resto  del  suo  salario  per  vigore  di  detta  deliber- 
atione del  Consiglio  e  del  consentimento  di  detto  Guaspari,  quivi  presente  e 
consentiente. 


BENEDETTO  AND  SANTI  BUGLIONI  31 

Dipoi  il  detto  maestro  Benedetto  riceve  da'  soprascritti  operai,  detti  fiorini 
xxij  larghi  per  resto  di  suo  salario  della  soprascritta  opera  e  pero  libero 
rOpera  e  operai  per  tale  somma  e  aprovanti. 

[Archiv.  idem,  Op.  di  S.  Jacopo,  regist.  6,  Cod.  10,  c.  132.] 

7.  "Uscita  di  danari  paghati  per  adornanza  di  chapella.     A  m°  Benedetto 

di  Giovanni  schultore  da  Firenze  a  di  9  di  maggio   [1490]   contanti 

fior.  sei  larghi  (  ?)  pago  lui.     Vagliono lib.  38  sol.  8." 

[Archiv.  idem,  Op.  di  S.  Jacopo,  Entrata  e  Uscita,  1489  cod.  430,  c. 

I23^] 

8.  "A  m°  Benedetto  soprascritto  ad  30  di  giugno  [1490]  contanti  fior. 
xxij  larghi (?).  Pago  lui  per  resto  della  Resttrexione.  Pago  lui  non 
li  ebe lib.  141,  sol.  18." 

[Archiv.  idem,  idem.] 

9.  "MCCCCLXXXX.  Uscita  di  danari  pagati  per  la  Suresione  sopra 
a  I'altare. 

A  m°  Benedetto  di  Giovanni  da  Firenze  .  .  .  per  resto  di  fior.  xxviij 
d'oro  larghi,  per  mano  di  Ser  Nicholao  dal  Ghallo  etc." 

[Archiv.  idem,  idem,  1490,  Cod.  432,  c.  113;  Arch,  idem,  Libro  di  Bas- 
tiano  di  Bono,  1490  e  91,  Cod.  493,  c.  140.] 

10.  Later  documents  in  Arch.  RR  Spedali  R",  Deliberasioni  F.  c.  50,  54, 
H.  c.  29;  Atti,  filza  II,  cat.  I,  1893,  incerto  64. 

11.  Two  documents  copied  by  Mr.  Rufus  G.  Mather. 

"Dicta  die  (viiij  maggio) 
Spettabiles  quactuo  op(er)arij  op(er)e  s(ancti)  jacobi  supra- 
alib(ro)  scripti  congregati  in  op(er)a  p( re) dicta  eorum  partito  obtencto 
p(er)  fab(as)  quactuo  nigras  p(er)  si  deliberaverunt  Q(uod) 
cam"*  (camerarius)  sol  vat  magistro  Benedecto  scultori  de  flor- 
entia  florenos  sex  auri  largos  p(ro)  parte  ciusdam  op(er)e  fiende 
p(er)  eum  sup(ra)  altare  chapp(elle)  s(ancti)  jacobi  p(re)dicti 
vz  cuisdam  resurrexionem  etc." 


12.  "Die  xvij  mensis  junij 


alib(ro)  Item  delib(er)averunt  ut  sup(ra)  quod  cam(erarius)  det  et 
solvet  psbro  (presbitero)  Guaspari  mactej  de  pistorio  libras  vi- 
ginti  den(ariorum)  vigori  delib(er)ationis  consilij  expe(n)  den- 
das  p(er)  eum  i  acocimen  capp.  s.  jacobi  p(re)dictj  prout  placuit 
eidem  p(re)sb(ite)ro  guaspari  cum  codictione  quod  dictus 
p(res)b(ite)r   guaspar   teneatur   et   deat   lib (er) are   op(er)am 


32  BENEDETTO  AND  SANTI  BUGLIONI 

p.dictam  de  om(n)i  eo  quod  petere  et  consequi  possit  a  dca 
op(er)a  occaxione  salari  sibj  debiti  q(uo)n(dam)  fuit  (fuerit) 
cappellanus  capp*  Sea  agata  et  sacrestanus  dicte  capp^  s.  Jacob j 
et  hoc  omi  (omni)  mel(iori)  mo  (do)  etc.  pnte  (presente)  dco 
p(re)sbitero  guaspare  et  p(re)dicto  audiente  et  intelligente  ac 
lib(er)ante  dcam  op(er)am  et  dc5s  operari  (sic)  p(rese)nte  et 
dicto  nomine  aceptante  dcos  operari  p(rese)ntes  et  aceptantes 
p(er)  se  et  eorum  heredes  conservare  indepnes  et  penitus  sine 
dapno  (dampno)  de  florenis  sex  auri  largis  p(er)eos  solutis 
magro  Benedecto  scultori  de  florentia  p(ro)  parte  Resurrexionis 
fiende  in  dca  capp"  ut  constat  manu  mei  et  abom(n)ibus  dapnis 
penis  et  preuiditijs  in  quibus  quol  (quomodolibet)  incurre  pos- 
sent  occaxione  p( re) dicta  etc  et  ppea  (propterea)  obligantes  se 
et  suos  heredes  et  bona  etc. 

*  Ren(untiantes)  etc  cum  guarantigiis  etc  actum  pistori  etc 
i  op(er)a  suprascripta  p(rese)ntibus  alexandro  lodovici  ser  nico- 
lai  de  pistorio  et  Stefano  Spagnesis  de  publica  comunitate  pistori 
testibus  etc. 

*  Marginal  note :  vz  si  ea  no  fecerit  et  posuuerit  i  capp'  p( re) dicta 
[Archivio  di  Stato.  Rogiti  di  Ser  Pietro  di  Jacopo  del  Terchio  da  Pistoia. 

Libro  Deliberazioni  degli  Operai  di  S.  Jacopo,  Anno  1490,  Segnato  Notaii 
T  108  (modern  number  356)]. 

Bibl. : 

Bacci,  Riv.  d'Arte,  II  (1904),  49-63  (Doc)  ;  Bombe.,  B-Th.,  Lex.,  s.v. 
Buglioni;  Burckh.,  II,  436;  Erculei,  N.  AntoL,  XX  (1889),  764; 
Fabriczy,  R.  f.  K.,  XXIX  (1906);  47;  Giglioli,  96;  Ross.  bibl.  arte 
ital.,  VII  (1904),  no. 

29     STATUES,  CHERUB  FRIEZE,     c.  1490.    Florence,  Badia,  Capp- 
ella  Bernardo  del  Bianco  (formerly). 

From  Vasari's  Vita  di  Fra  Bartolomeo  di  San  Marco,  published  in 
1550  and  1568,  we  learn  that  Bernardo  del  Bianco  built  a  chapel  in  the 
Benedictine  monastic  church  of  the  Badia.  It  was  built  of  "macigno" 
richly  carved  after  designs  of  Benedetto  da  Rovezzano,  and  was  further 
adorned  by  statues  of  saints  and  angels  in  the  full  round,  set  in  niches, 
and  by  friezes  of  cherubs  and  insignia  of  the  del  Bianco  family  executed 
in  glazed  terra-cotta  by  Benedetto  Buglioni.  This  is  in  accord  with  what 
we  know  of  Buglioni's  works,  such  as  the  altarpiece  at  Fabbrica  in  Val 
d'Era  and  in  the  decorations  of  the  Tribuna  from  S.  Chiara  now  in  the 
Victoria  and  Albert  Museum,  London.     In  1664,  Puccinelli  writes  as  if 


BENEDETTO  AND  SANTI  BUGLIONI  33 

these  decorations  were  still  in  place,  but  in  1677  Bocchi-Cinelli  informs  us 
that  they  had  been  removed. 

Above  what  was  once  the  lateral  but  now  the  principal  entrance,  on  the 
Via  del  Proconsolo,  Puccinelli  tells  us  there  was  a  beautiful  Madonna  in 
terra-cotta  invetriata.  Bocchi-Cinelli  further  defines  it  as  a  lunette  by 
Luca  della  Robbia  in  which  the  Madonna  is  accompanied  by  two  adoring 
angels.  In  1855,  if  we  may  trust  Barbet  de  Jouy,  it  was  located  inside  of 
the  Badia,  in  the  Cappella  Salviati,  and  was  attributed  by  some  Florentines 
to  Benedetto  Buglioni.  About  1870  the  doorway  on  the  Via  del  Procon- 
solo was  renovated,  and  this  lunette  incorporated  in  it.  The  attribution  to 
Benedetto  Buglioni  became  generally  accepted,  although  such  connoisseurs 
as  Dr.  Bode  and  Marcel  Reymond  recognized  in  it  the  strong  influence  of 
Andrea  della  Robbia.  Such  a  lunette  as  this  could  not  have  been  produced 
by  Benedetto  Buglioni  at  any  stage  of  his  career.  It  is  certainly  the  per- 
sonal handiwork  of  Andrea  della  Robbia. 

Documents : 
I. 

"Aveva  Bernardo  del  Bianco  fatto  far  nella  Badia  di  Fiorenza,  in 
que'di,  una  cappella  di  macigno  intagliata  molto  ricca  e  bella,  col 
disegno  di  Benedetto  da  Rovezzano,  la  quale  fu  ed  e  ancora  oggi 
molto  stimata  per  una  ornata  e  varia  opera;  nel  la  quale  Benedetto 
Buglioni  fece  di  terra  cotta  invetriata  in  alcune  nicchie  figure  ed 
angeli  tutte  tonde  per  finimento,  e  fregj  pieni  di  cherubini  e  d'im- 
prese  del  Bianco;  e  desiderando  mettervi  drento  una  tavola  che 
fussi  degna  di  quell  'ornamento,  messesi  in  fantasia  che  Era  Bar- 
tolomeo  sarebbe  il  proposito,  e  opero  tutti  que'  mezzi  amici  che 
maggiori  per  disporlo. 
[Vasari,  IV,  181-182.] 

2.  "L'an.  1490  incircha  Bernardo  del  Bianco  fece  la  sua  nobile, 
ricca  e  vaga  Cappella  nel  sito  appunto  ove  di  presente  e  la  murag- 
lia  del  Santuario  verso  il  Corno  dell  'Epistola  colle  Colonne,  Pilas- 
tri,  Capitelli,  Archi  e  Architravi  di  macigno  intagliato  con  fiorame 
e  altri  lavori  disegno  di  Benedetto  da  Rovezzano  e  ornolla  con 
Figure,  Angeli,  Cherubini,  Ovati  e  Imprese  di  terra  cotta  invetriata, 
lavorate  dall'  eccellente  Benedetto  Buglioni,  e  circa  I'anno  1504 
fece  dipingere  da  F.  Bartolomeo  Domenicano  detto  nel  secolo  Bac- 
cio,  famoso  Pittore,  nella  Tavola  e  Ancona  la  Madonna  col  Bam- 
bino in  braccio,  portata  da  molti  Angeli,  e  S.  Barnardo."  .  .  . 

[P.  D.  Placido  Puccinelli,  Istoria  dell  'Eroiche  Attioni  di  Ugo  il 
Grande  Con  la  Cronica  dell'  Abbadia  di  Fiorenza.  Milano  MDclxiv. 
Cronica  dell  'Abbadia  Fiorentina,  c.  5.] 


34  BENEDETTO  AND  SANTI  BUGLIONI 

3.  "II  Capitolo  fu  aggiustato  ad  uso  di  Refettorio  da  Alessandro 
Capponi  I'anno  1585,  la  Porta  della  Sacrestia  fu  ornata  dalla  Famig- 
lia  Gianfigliazzi  come  dall  'Arme.  Sopra  la  Porta  laterale  verso  la 
strada  pubblica  fu  adatta  I'effegie  di  Nostra  Signora  di  terra  robbia 
invetriata,  vaga  e  bella  per  il  disegno  e  maestria." 

[Idem,  c.  119.] 

4.  "Cappella  di  Bernardo  del  Bianco,  lodata  molto  dagli  uomini  in- 
tendenti  e  I'archittetura  di  Benedetto  da  Rovezzano,  diuisata  con 
colonne,  con  f regi,  cornici,  con  ornamenti  nobili,  e  ricchi :  e  si  vede 
tutta  I'opera  di  tanta  grazia,  che  non  pare,  che  bellezza  piii  rara,  ne 
ordine  piu  vago  si  possa  disiderare.  Molte  figure  ci  ha  di  terra 
cotta  invetriata,  f  atte  con  gran  pulitezza  da  Benedetto  Buglioni :  le 
quali  (pero  che  oltra  I'artifizio  sono  di  notabile  candidezza)  nel  co- 
lore, il  quale  e  azzuro  di  pietra  serena,  onde  tutta  la  fabbrica  e  com- 
posta,  fanno  di  vero  sembiante  leggiadro,  e  mirabile.  La  tavola, 
dove  e  dipinta  la  Vergine  col  figliuolo  in  collo,  che  apparisce  a  S. 
Bernardo,  e  di  mano  di  Era  Bartolommeo;  ed  e  per  colorito,  e  per 
disegno  maravigliosa.  Si  vede  in  bella  attitudine,  come  in  santi 
avvisi  sta  pensoso  questo  Santo  di  Dio;  ed  intento  in  sua  contem- 
plazione,  mentre  che  se  gli  para  davanti  si  subblime  oggetto,  riluce 
in  quello  costume  divino,  e  splendore  di  santita;  e  di  vero  e  tenuta 
questa  figura  maravigliosa  nel  disegno,  e  nel  rilievo;  ma  non  e  la 
Madonna  di  minor  pregio,  la  quale  sostenuta  da  molti  angeletti, 
molto  e  rara ;  e  nella  purita  de  'volti  accesi  di  letizia,  si  destano  affeti 
santi,  in  chi  mira,  e  divozione.  Queste  figure  di  terra  cotta  in  oggi 
piu  non  vi  sono,  e  la  tavola  di  Era  Bartolommeo  Domenicano  al 
secolo  chiamato  Baccio  e  posta  in  Sagrestia  la  quale  e  di  vero  mara- 
vigliosa .  .  . 

[Bocchi-Cinelli,  385-386.I 

5.  "E  sopra  la  Porte  di  questa  Ciesa  in  vn  mezzo  tondo  vna  bellissima 
Vergine  col  Bambino  Giesu,  e  due  Agnolini  di  terra  vetriata  di 
mano  d(e)l  Luca:  Esprimono  gli  Angeli  nel  se(m)biante  la  de- 
vozione,  e  riverenza,  che  si  deve  all  'eterno  Verbo  molto  acconcia- 
mente." 

[Idem,  389.] 

Bibl. : 

B.  J.,  89;  B.  Kf.,  23;  Denkm.,  90,  Taf.  86;  Bacci,  R.d'A.,  II  (1904), 
49-50;  Bocchi-Cinelli,  381,  385-386,  389;  Cocchi,  114;  Burl.,  107; 
C-M.,  144,  205,  no.  3;  Cr.  253;  341;  Marcotti,  11 1;  Puccinelli,  5; 
R.,  D.  R.,  223;  Sc.  Fl,  IV,  48;  Richa,  I,  198;  S.,  72,  Abb.  69;  Vas. 
II,  184-185  note  I,  192;  IV,  182. 


BENEDETTO  AND  SANTI  BUGLIONI 


35 


30     STEMMA  OF  ANTONIO  LORINI.     1491.     Scarperia,  Palazzo  del 
Vicariato.     Photo.,  Private. 

Within  a  continuous  wreath  irregularly  composed  of  fruit  and  flowers, 
with  insects,  is  a  Tuscan  shield   (Fig.  22),  beribboned  on   a  flat  plane, 


Fig.  22. — Stem  MA  of  Antonio  Lorini. 

bearing  the  Lorini  arms :  Azure,  a  mount  of  six  tops  or,  from  which  spring 
four  lilies  of  the  same. 

Below,  on  a  horizontal  scroll  terminating  in  spirals  is  inscribed : 

A  ANTONIO  A  DI  GI(0) 

VANNI  A  LORINI  A 

V(ICARI)0  A  1491 
Antonio  di  Giovanni  d'Antonio  di  Filippo  di  Lorini  di  Bonaiuto  Lorini 
was  a  Prior  of  Florence  in  1463,  Gonfaloniere  in  1485,  and  Prior  again  in 
1494- 

Bibl. : 

C.,  s.v.  Lorini;  M.,  R.  H.,  88  Fig.  89.    P.,  412-414. 

31     MADONNA.     1491.     Florence,  Duomo  (formerly). 

The  records  of  the  Opera  of  S.  Maria  del  Fiore  show  that  Benedetto 
Buglioni  furnished  them  with  a  statue  of  the  Blessed  Virgin  for  use  dur- 
ing Holy  Week.    The  hands  and  other  members  were  of  wax.     Benedetto 


36  BENEDETTO  AND  SANTI  BUGLIONI 

is  designated  "pictor"  and  was  paid  for  painting  the  statue,  which  was 
evidently  for  temporary  purposes. 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 
I.  "-|-Mcccclxxxxj° 


p(ro)   Benedicto  bugHone     D(i)c(t)o  Die   (xxviii"  dicti  mensis  Marti j) 

Item  q(uod)  Benedicto  BugHoni  qui  confiat 
figuram  Beate  Marie  Virginis  p(ro)  pietate  i 
ebdomoda  s(an)c(t)a  Det(ur)  cera  et  mat 
(erie)  pre  (prime)  expediens  p(ro)  confici- 
endis  manibus  et  alijs  membris  dicte  figure" 
[Archivio  dell'  Opera  di  Santa  Maria  del  Fiore,  Libro  Deliberazioni, 

1486-1491,  c.  104*.] 

2.  "-j-Mcccclxxxxi 


Die  nono  aprilis 
D(i)c(t)o  Die  Item  exp(ensis)  opere  1  quatuor 
s  X  p(iccio)li  et  p(ro)  eis  Benedicto  buglioni 
pictori  p(ro)  pictura  figure  Marie  Virginis 
qua  usa  est  etc  i  diebus  et  ebdomeda 

s(an)c(t)a f  - 1  4-10  Dipintura" 

[Idem,  c.  105.] 

Bibl. : 

R.  G.  M.,  L'Arte,  xxii  (1919),  107. 

32  FRIEZE  OF  CHERUB  HEADS,  LAMBS,  AND  EMBLEM  OF 
JESUS,  c.  1493.  London.  Victoria  and  Albert  Museum,  No. 
7720-'6i. 

The  Victoria  and  Albert  Museum  was  fortunate  enough  to  acquire  in 
1861  the  tribuna  (Fig.  23)  from  the  church  of  the  convent  of  S.  Chiara, 
suppressed  in  1842.     This  chapel  was  built  by  Simone  Pollaiuolo  in  1493. 

The  frieze  (Fig.  24)  consists  of  triple  winged  cherub  heads,  in  groups 
of  two,  alternating  either  with  Paschal  lambs  bearing  banners,  seated  on 
clouds  streaked  with  yellow  and  enclosed  in  wreaths  of  fruit,  or  with  the 
Emblem  of  Jesus  similarly  enclosed  in  a  fruit  garland.  A  frieze  of  two 
cherub  heads  alternating  with  Paschal  lambs  occurs  in  the  tribuna  of  the 


BENEDETTO  AND  SANTI  BUGLIONI 


37 


Fig.  23. — The  Tribuna  from  S.  Chiara,  Florence. 

Pazzi  chapel,  and  became  later  a  favorite  decorative  motive.  In  some  cases 
it  may  refer  to  the  Arte  della  Lana.  The  Emblem  of  Jesus,  here  consists 
of  lettering  similar  to  that  in  the  refectory  of  S.  Pietro  dei  Cassinensi, 
Perugia.  This  was  used  in  a  general  manner  and  only  in  specific  cases 
as  the  emblem  of  S.  Bernardino  da  Siena. 


Bibl. 


C-M.,  267  No.  385;  Cr.,  346;  Richa,  IX,  84-85;  Robinson,  73-76. 


38 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  24. — Frieze  of  the  Tribuna  from  S.  Chiara. 

33     STEMMA  OF  GIOVANNI  GUCCIO.     1497.     Sesto,  Palazzo  Pre- 
torio.     Photo.,  Private. 

On  a  white  rectangular  tablet  is  set  in  a  recessed  blue  quadrangle  a  Tus^ 
can  shield  (Fig.  25)  bearing  the  Gucci  di  Dino  arms:  Or,  a  bend  gules  ac- 


ssERgi«^o-p^ 

Fig.  25. — Stem  MA  of  Giovanni  Guccio. 

companied  by  two  roses  of  the  same;  a  chief  gules  charged  with  the  motto 
A  LIBERTA  A 

The  lower  part  of  the  frame  is  inscribed : 

G(I)OVANNI  A  DI  lACO 
PO  A  DI  DINO  A  DI  ME 
SSER  GHVC(C)0  A  P(ODEST)  A 
A  1497  A 

Giovanni  di  lacopo  di  Dino  di  Messer  Guccio  was  a  Prior  in  Florence  in 
the  years  1491,  1501,  and  1509. 

Bibl. : 

Carocci,  I,  312;  C-M.,  248  No.  268;  C.,  s.v.  Gucci  di  Dino;  Cr.,  355; 
M.,  R.  H.,  112  Fig.  no;  P.,  536. 


BENEDETTO  AND  SANTI  BUGLIONI  39 

34  CHERUB  HEADS.    Badia  a  Settimo.     Frieze. 

The  tribuna  of  the  Badia  at  Settimo  is  decorated  with  a  frieze  of  cherub 
heads  alternating  with  medallions  of  the  Paschal  lamb  holding  a  banner 
and  enclosed  in  a  wreath  of  fruit.  Similar  to  that  from  the  tribune  of 
S.  Chiara,  now  in  the  Victoria  and  Albert  Museum,  London. 

Bibl. : 

Burl.,  63,  112;  Carocci,  II,  445. 

35  THE  PUCCI  CIBORIO.     1499-1500.    Certaldo.    S.  Michele  e  Jaco 
po.     Photo.,  Alinari,  8531. 

This  ciborio  (Fig.  26)  suggests  Desiderio's  well  known  Ciborio  in  S. 
Lorenzo.  The  infant  Christ  of  the  lunette  is  posed  on  a  cherub  head,  in- 
stead of  on  a  chalice.  The  cherub  head  is  characteristic  of  Benedetto  Bugli- 
oni;  so  are  the  spotty  blue  backgrounds,  the  disk  and  garland  frieze,  the 
Rossellinesque  candelabra  in  the  pilasters. 

The  console  shows  a  cherub  head  between   cornucopias   of   polychro- 
matic fruit.     Below  the  cherub  head  is  a  scroll  inscribed: 
LODOVICHO  •   PVCCI  • 
•  V(ICARI)0  E  COM(MISSARI)0  1499  1500 

Below  this  the  Pucci  stemma:  Argent,  a  Moor's  head  proper  wreathed 
of  the  first, 

Bibl. : 

C.  s.v.  Pucci;  M.,  R.  H.,  123-124,  Fig.  119;  W.,  166. 

36  CHERUB  HEAD  BETWEEN  CORNUCOPIAS.    Florence  (near). 
Villa  Palmieri.     Console. 

Similar  in  style  (Fig.  27),  though  not  exact  replica,  of  the  console  on 
the  Pucci  ciborio  at  Certaldo. 

37  THE  ROSSI  CIBORIO.     Signa.     S.  Mauro.     Photo.,  Private. 

This  ciborio,  in  style  similar  to  the  Pucci  ciborio,  gives  every  evidence 
of  having  come  from  Benedetto  Buglioni's  atelier ;  the  flat  ceiling  with  the 
dove,  the  grill  pavement,  the  type  of  the  angels,  the  cherub  heads,  and  the 
pendent  garlands.  The  console  contains  the  arms  of  the  Rossi  family, 
Argent,  a  tree  natural  terraced  gules. 


40 


BENEDETTO  AND  SANTI  BUGLIONI 


I  jlp^iJ  rV-  — 


■y-i  VH'««t*«i««»«W»H«lA%\<*tv*i  \?;]\n 


*vvt»iv*»<v%«V"»>i\*»i\*Mv%Mv\iv»Mv«i|i«; 


Fig.  26. — The  Pucci  Ciborio. 


Bibl. 


Carocci,  Valdarno,    18,  22;  Crollalanza,  s.v.   Rossi;  Cr.,   355;   M., 
R.  H.,  141. 


BENEDETTO  AND  SANTI  BUGLIONI 
38     Cantoria.     1499.    Genoa.     S.  Stefano. 


41 


Wrongly  attributed  by  Milanesi  to  Benedetto  Buglioni.     No  document- 
ary, no  stylistic  evidence  for  this  attribution. 

Bibl. : 

Alizeri,  Guida  artistica  per  la  citta  di  Genova,  I,  209-212;  Bacci,  Riv. 
d'Arte,  II  (1904),  49;  Fabriczy,  Riv.  d'Arte,  II  (1904),  140;  Gsell- 
fels-Meyer,  Oheritalien,  818;  Vas.,  II,  185  note  i ;  IV,  530  note  2. 


Fig.  27. — The  Palmieri  Console. 


1500-1510 


I500-I5IO 

39  NATIVITY  AND  SHEPHERDS.  1500.  Stia  (near),  S.  Maria 
delle  Grazie.  Presbytery.  Lunette.  H.,  2.20m.;  W.,  3m.  Photos., 
Alinari,  9808;  Agostini,  622. 

The  Christ  Child,  holding  his  finger  to  his  lips,  reclines  on  yellow  straw 
(Fig.  28).     To  the  left  is  seated  S.  Giuseppe  clad  in  blue  with  mantle  of 


Fig.  28. — The   Nativity,   Stia. 

yellow  lined  maroon.  To  the  right,  kneels  the  Madonna  in  maroon,  with 
mantle  of  blue  lined  green.  She  is  followed  by  two  shepherds.  In  the 
background  some  care  is  expended  on  the  stable,  the  chestnut  trees,  the 
grape  and  ivy  vines,  but  the  walls  of  the  stable  are  unintelligible  and  the 
ox  and  ass  heads  enormous.  Overhead  are  three  angels  singing  the  Gloria 
in  Excelsis.     Nudes  unglazed. 

The  frame  consists  of  cord  moulding,  cherub  heads,  pendent  garlands  of 
flowers,  fruit,  and  wheat  interspersed  with  lizards  and  other  small  animals 
and  an  outer  egg  and  dart  moulding.    At  the  apex  is  a  pelican  and  young. 

The  predella  is  low  and  extends  to  the  lateral  walls.  It  is  inscribed: 
AVE  GRATIA  PLENA  D(OMI)N(V)S  (TECVM)  VERBVM  CARO 
FACTV(M)  EST  DE  VIRGINE  MARIA  FACTV(M)  FVIT  OPVS 
ANNO  D(0)M(INI)  MCCCCC.     The  inscription  which  may  have  con- 


46 


BENEDETTO  AND  SANTI  BUGLIONI 


tained  the  name  of  the  sculptor  appears  to  be  continued  on  the  predella  of 
the  lunette  in  the  opposite  chapel. 

Bibl. : 

Beni,  i6i ;  C-M.,  249  No.  276;  Cr.,  356;  R.,  D.  R.,  244;  Sc.  Fl,  IV, 
58;  S.,  139;  Vas.,  II,  199. 

40  APPARITION  OF  THE  VIRGIN.  Stia  (near).  S.  Maria  delle 
Grazie.  Presbytery,  Lunette.  H.,  2.20m. ;  W.,  3m.  Photo.,  Ali- 
nari,  9809. 

In  1347  the  Madonna  appeared  above  the  rock  now  marked  by  the  church 
of  S.  Maria  del  Sasso,  near  Bibbiena.  In  1428  she  made  a  second  appear- 
ance, again  above  a  rock,  now  marked  by  the  church  of  S.  Maria  delle 
Grazie  near  Stia.  The  apparition  was  vouchsafed  to  by  a  pair  of  peasants 
known  as  Pietro  da  Campidonico  and  Monna  Giovanna.  Both  seem  to 
have  taken  to  the  religious  life,  and  are  robed  in  brown  monastic  habits. 
Above  a  rock  appears  the  Madonna  (Fig.  29),  robed  in  white,  in  a  man- 


FiG.  2y. — ^Apparition  of  the  Virgin. 


dorla  surrounded  by  cherub  heads.  In  the  background  is  a  house  on  which 
climb  ivy  vines  and  near  which  are  chestnut  trees.  In  the  rear  is  an  aston- 
ished shepherd,  on  a  stratified  rocky  slope.     Nudes  unglazed. 

The  low  base  of  the  lunette  once  bore  an  inscription  now  undecipherable. 
The  frame  shows  an  inner  cord  moulding,  a  frieze  of  cherub  heads,  pen- 
dent garlands  of  fruit,  flowers  and  wheat,  and  an  outer  tgg  and  dart 


BENEDETTO  AND  SANTI  BUGLIONI  47 

moulding.     At  the  apex  are  birds,  small  animals  and  a  large  bunch  of 
chestnuts. 

Bibl. : 

Beni,  161;  C-M.,  249  No.  276;  Cr.,  356;  S.,  139,  Abb.  148;  Vas.,  II, 
199. 

41     MADONNA,  S.  ANNA,  AND  SAINTS.     Paris,  Louvre  No.  435, 
Lunette. 

The  Madonna,  robed  in  red  tunic  and  blue  mantle,  holding  on  her  lap 
the  nude  Child  blessing,  is  seated  on  the  lap  of  S.  Anna,  who  is  clad  in 
yellow  tunic  with  green  sleeves  and  light  blue  mantle  (Fig.  30).     To  the 


Fig.  30. — Madonna,  S.  Anna,  and   Saints. 

left  kneels  S.  Antonio  holding  a  crutch  and  book ;  to  the  right  a  saint  hold- 
ing crucifix  and  lilies  in  his  right  hand  and  skull  and  book  in  his  left. 

The  frame,  between  an  inner  cord  and  outer  egg  and  dart  moulding 
shows  garlands  of  triplex  bunches  of  fruit  and  flowers  hanging  from  a 
mask. 

Bibl. : 

C-M.,  276  No.  439;  Cr.,  350;  S.,  139  Abb.  149. 

42     NOLI   ME   TANGERE.     Rifredi.     La   Quiete.     Entrance   portal. 
Lunette.    H.,  1.52m.;  W.,  3.10m.    Photo.,  Alinari,  20338. 

White  figures  of  a  Verrochiesque  Christ  as  a  gardener  (John  XX,  11-8), 
the  Maddalena,  and  an  adoring  angel  seated  on  a  well  top  (Fig.  31).  Christ 
carries  a  yellow  handled  blue  mattock.  The  polychrome  landscape  of  green 
trees,  stratified  rocks,  violet  well  top  and  yellow  fences,  suggest  the  style  of 
Benedetto  Buglioni,  though  showing  the  influence  of  Giovanni  della  Robbia. 


48 


BENEDETTO  AND  SANTI  BUGLIONI 


The  frame  consists  of  a  continuous,  irregularly  composed  garland  of 
fruit,  flowers  and  wheat,  with  an  outer  tgg  and  dart  moulding.  The  mo- 
tion, from  right  to  left  is  similar  to  that  on  the  lunette  at  S.  Ansano. 

This  lunette  was  probably  brought  with  the  lunettes  by  Giovanni  della 


Fig.  31. — Noli  me  tangere,  Rifredi. 

Robbia  by  the  Signore  Montalve  from  their  convent  in  Florence  adjoin- 
ing S.  lacopo  a  Ripoli — and  not  from  S.  Onofrio  as  stated  by  Miss  Crutt- 
well.    The  S.  Onofrio  lunette  is  in  the  Museo  Nazionale,  No.  57. 

Bibl. : 

Carocci,  A.  I.  D.  I.,  VI  (1897),  65;  Cr.,  236  note,  393. 


43  CHRIST  AND  THE  SAMARITAN  WOMAN  AT  THE  WELL. 
Florence.  Museo  Nazionale,  No.  24.  Lunette.  H.,  1.45m.;  W., 
2.95m. 

From  the  Convento  di  S.  Onofrio,  known  as  the  Conservatorio  della 
Concezione  di  Foligno,  in  the  Via  Faenza  (in  1893).  This  was  opposite 
the  house  occupied  by  Benedetto  Buglioni. 

Christ,  clad  in  tunic  of  violet  brown  edged  yellow  and  a  mantle  of  blue 
lined  green,  stands,  nudes  unglazed,  by  a  mottled  violet  well  with  base  and 
crowning  mouldings  of  blue.  The  Woman  of  Samaria,  clad  in  white  with 
blue  sleeves,  pours  water  from  a  bucket  into  a  large  white  amphora  (Fig. 
32). 


Fig.  32. — Christ  and  the  Samaritan  Woman. 


BENEDETTO  AND  SANTI  BUGLIONI 


49 


To  the  left  in  a  rocky,  polychromatic  landscape  is  a  group  of  men,  three 
of  whom  with  haloes  are  probably  intended  to  represent  Apostles.  To  the 
right  is  a  town  of  Samaria,  Sychar,  where  Jacob's  well  was  (John  IV, 
5-6),  with  a  lofty  portal  and  many  bell-towers. 

The  frame  shows  a  fillet  and  egg  and  dart  moulding  enclosing  polychro- 
matic garlands  of  fruit,  flowers,  and  wheat  proceeding  to  left  and  right 
from  a  white  winged  cherub  head. 

Bibl. : 

Burl.,  no;  Cr.,  338;  Supino,  Cat.,  441  No.  24. 


44     STEMMA  OF  FRANCESCO  DELLA  TOSA. 
Palazzo  dei  Priori.     Photo.,  Private. 


1 501.     Volterra, 


Within  a  continuous  wreath  of  fruit,  flowers,  and  wheat,  composed 
chiefly  of  triplex  bunches,  is  set  against  a  green  disk  a  beribboned  Tuscan 
shield  having  a  bordure  or  inscribed  with  a  series  of  the  letter  a.  The 
shield  bears  the  Delia  Tosa  arms:  Azure,  a  pair  of  shears  in  bend  argent; 
in  chief  a  Croce  del  Popolo  (Fig.  33). 


Fig.  33. — Stemma  of  Fkanxesco  della  Tosa. 

Below  is  a  horizontal  scroll  inscribed : 
M(ESSER)  A  BALDO  A  DI  SIMONE  A  DELLA  A  TOSA  A  CAP- 
(ITAN)O  A  MCCCLXXXX 


50         BENEDETTO  AND  SANTI  BUGLIONI 

BERNARDO  A  D(I)  M(ESSER)  BALDO  A  DELLA  A  TOSA  A  CAP- 

(ITAN)OA  MCCCCXXXVI 
FRANC(ESC)0  A  DI  BERNA(R)DO  A  DI  M(ESSER)  A  BALDO  A 
DELLA  A  TOSA  A  CAP(ITAN)0  E  COM(MISSARI)0  A  MDI 
Francesco  here  sets  up  a  memorial  to  his  father  Bernard  and  his  grand- 
father Messer  Baldo,  both  of  whom  held  the  office  of  Capitano  at  Volterra. 
The  Delia  Tosa  family  also  held  high  office  in  Florence. 

Bibl. : 

C,  s.v.  Tosa  (della)  ;  M.,  R.  H.,  129  Fig.  123;  W.,  179. 

45  MADONNA  ENTHRONED  BETWEEN  SAINTS  GIROLAMO 
AND  NICCDLO  DA  BARI.  1502.  Paris.  Collection  of  Mr.  Junius 
S.Morgan.  Rectangular  altarpiece.  H.,  2.26m. ;  W.,  1.72m.  Photo.. 
Metropolitan  Museum. 

This  altarpiece  (Fig.  34)  was  purchased  in  Cortona  in  1906,  exhibited 
in  the  MetropoHtan  Museum  in  1910,  and  taken  to  Paris  in  191 1.  It  is  of 
special  interest  because,  being  dated,  other  monuments  of  similar  char- 
acter may  be  associated  with  it. 

The  Madonna  is  enthroned  on  a  bench  set  on  a  podium  before  a  ma- 
roon coloured  niche,  the  frieze  of  which  is  extended  to  right  and  left. 
She  wears  a  maroon  robe,  a  mantle  of  blue  lined  green  and  supports  the 
nude  Child  (of  Desiderio  type),  who  holds  an  apple  in  his  hand  and  with 
his  right  forefinger  carries  the  taste  of  the  forbidden  fruit  to  his  mouth. 
The  podium  of  the  throne  is  inscribed : 

QVESTA  A  TAVOLA  A  A  FACTA  A  FARE 
SVORA  A  CATERINA  A  FIGLIOLA 
DI  TOM(M)ASO  A  DI  SALVESTRO  A  DI 
NVCCARELLOA  NE(L     ANNO)  A  MCCCCC  2 

To  the  left  stands  S.  Girolamo,  holding  a  stone  against  his  bared  breast 
and  a  cardinal's  hat  (maroon)  over  his  left  arm.  He  wears  a  light  ma- 
roon robe  and  a  mantle  of  white  lined  blue.  At  his  feet  is  a  lion.  To  the 
right  is  S.  Niccolo  da  Bari  with  Bishop'?  mitre  and  pastoral  staff,  clad  in 
white  with  pluvial  of  maroon  lined  green  and  a  wide  border  of  blue.  At 
his  feet  are  three  loaves  of  bread. 

The  predella  displays  at  the  extremities  Sister  Caterina's  private  em- 
blem. Argent,  a  cross  and  letter  C  gules,  and  her  family  arms  Azure,  a 
lion  rampant. 

The  three  reliefs  represent  (i)  S.  Girolamo  (here  bearded)  in  the  desert 
kneeling  before  the  cross,  the  lion  roaring  in  front  of  him;  (2)  Christ  in 
the  sepulchre,  between  a  lance  and  a  rod  with  a  sponge,  with  rocks  on 


BENEDETTO  AND  SANTI  BUGLIONI 


51 


Fig.  34. — The    Nuccarello    Altarpiece. 


52 


BENEDETTO  AND  SANTI  BUGLIONI 


either  side,  (3)  S.  Niccolo  da  Bari  bringing  food  to  the  starving  family  in 
prison.  The  pilasters  with  the  candelabrum  ornament,  the  capitals,  the 
architrave,  frieze,  and  cornice  are  attractively  designed.  They  were  re- 
peated in  other  monuments. 

Bibl. : 

M.,  D.  R.  A.,  160  Fig.  67;  R.  H.,  132,  Fig.  125. 

46     STEMMA  OF  NICCOLO  LUCA.     1503.     Buggiano  Alto.     Cas- 
tello.     Photo.,  Private. 


Within  a  continuous  wreath  of  fruit,  flowers,  and  wheat,  is  a  beribboned 
Tuscan  shield  set  against  a  violet  background  and  bearing  the  Maestro 
Luca  arms  (Fig.  35)  :  Per  fess  gules  (base)  and  or  (chief),  three  roundels, 
two  and  one,  counterchanged. 


*.N].G-!(i 

( 

ilMONh 

.  1 

- 

MSl\<J 

ifi^^TC:;,. 

i> 

^:f 

4 


Fig.  35. — Stem  MA  of  Niccolo  Luca. 

On  a  horizontal  scroll  below  is  inscribed: 

NICHOLO  A  DI    S 

IMONE  A   DEL   MA 

ESTRO  LVCHA  A 

PO(DESTA)  A   ET  A  C(OMMISSARI)0  1503. 

Bibl. : 


Cr.,  335;  M.,  R.  H.,  137,  Fig.  130. 


BENEDETTO  AND  SANTI  BUGLIONI 


53 


47  THE  IMMACULATE  CONCEPTION.  Empoli.  Museo  della  Col- 
legiata.  Rectangular  altarpiece.  H.,  2.15m.;  W.,  2m.  Photo.,  Ali- 
nari,  10123. 


From  the  Franciscan  church  of  S.  Maria  a  Ripa. 

The  immaculate  Virgin,  clad  in  maroon  with  mantle  of  blue  lined 
green,  stands  with  folded  hands  on  a  rocky  eminence  (Fig.  36).  Over- 
head is  a  choir  of  angels   (inspired  by  Antonio  Rossellino's  Nativity  at 


\k-Ji-J^-lfi'MJ<j.'JasJ>'- 


Kr0 


Fig.  36. — The  Immaculate  Conception,  Empoli. 

Naples)  dancing  on  clouds  from  which  emanate  delicate  rays  of  light  above 
the  Virgin's  head ;  below  set  against  the  rocks  is  a  scroll  inscribed : 
HEC  :  EST  •  VIRGA  •  IN  QVA  •  NEC  •  NODVS  •  O 
RIGINALIS  •  NEC  •  CORTEX  •  VENIAL(I)S  •  CVLPE  •  FVIT  • 
This  sentiment,  signed  AMBRO(GII),  involves  a  play  upon  words,  Virga 
for  Virgo,  and  is  probably  recorded  in  the  works  of  S.  Ambrogio. 


54  BENEDETTO  AND  SANTI  BUGLIONI 

To  the  left  on  a  level,  stands  S.  Anselmo,  in  a  white  tunic  with  pluvial 
of  green  bordered  blue  and  lined  maroon.     He  wears  a  Bishop's  mitre, 
holds  in  his  right  hand  a  yellow  pastoral  staff  and  in  his  left  a  scroll  in- 
scribed with  his  name  ANSE(L)MIS,  and  with  the  statement: 
NON  PVTO  VERVM  ESSE  AMATOREM 
VIRGINIS    •  QVI  CELEBRARE  RESPVIT 
FESTVM  SVE  CONCEPTIONIS.     (S.  Anselm.     Sermo 
de  Concept.  B.  V.  M.,  in  Migne,  Patr.  Lat.  CLIX.  322). 
To  the  right  stands  S.  AgOstino,  similarly  attired,  bearing  a  scroll  in- 
scribed with  his  name  A(V)GVST(IN)I  and  the  sentiment 

NVNQVAM  SVPER  OMNES  CHOROS  ANGELORVM 
ASCENDISSET  SI  EOS  IN  PVRITATE 
NON  TRANSCENDISSET 
The  three  trees  in  the  background  and  all  the  other  details  point  to 
Benedetto  Buglioni  as  the  author  of  this  relief. 

The  predella,  constructed  like  that  of  the  J.  S.  Morgan  altarpiece,  shows 
at  the  extremities  coats  of  arms.  At  the  dexter  end  Azure,  an  architect's 
square  or;  at  the  sinister  end  the  arms  are  effaced.  The  intervening  re- 
liefs represent  in  rocky  landscapes,  (i)  S.  Girolamo  and  his  lion,  (2)  S. 
Francesco  holding  a  book  and  cross,  (3)  Christ  in  the  sepulchre,  (4)  S. 
Antonio  of  Padua  with  book  and  flame,  and  (5)  S.  Giuliano  with  a  sword. 
In  another  altarpiece  still  at  S.  Maria  a  Ripa  the  predella  scene  of  the 
parricide  identifies  the  saint  with  a  sword  as  Giuliano.  The  pilasters  are 
decorated  with  garlands  suspended  from  rings  and  composed  of  separate 
bunches  of  fruit,  flowers  and  wheat.  The  pilaster  capitals,  architrave,  and 
frieze  are  repetitions  of  those  of  the  Morgan  altarpiece,  except  for  the  in- 
troduction of  blue  on  the  frieze.    The  cornice  here  is  missing. 

Bibl. : 

Burl.,  114;  Carocci,  A.  e  S.,  1883,  229;  1884,  95;  Valdarno,  70;  C-M., 
255  No.  319;  Carmichael,  Francia's  Masterpiece ;  Cr.,  337;  M.,  R.  H., 
134- 

48     THE  ANNUNCIATION.    Borgo  a  Mozzano.     S.'  Jacopo.     Statues. 
Photo.,  Private. 

S.  Gabriele  (Fig.  37),  robed  in  blue  lined  green  and  a  mantle  of  yellow 
lined  maroon,  stands  pointing  toward  the  Annunziata  (Fig.  38),  who, 
robed  in  maroon  with  a  mantle  of  blue  lined  green,  stands  holding  a 
book.     Similar  to  the  Immaculate  Virgin  at  Empoli. 

Bibl. : 

Burl.,  113;  Boll.  d'Arte,  I  (1907),  27;  Pierotti,  II  Marsocco,  Aug.  7, 
1904;  Rass.  bibl.  arte  ital.,  VII  (1904),  218. 


BENEDETTO  AND  SANTI  BUGLIONI 


55 


Fig.  27- — S.  Gabriele. 


Fig.  38. — The  Annunziata. 


49     S.  ANSELMO  AND  SAINTS.     Empoli.     Museo  della  Collegiata. 
Rectangular  altarpiece.    H.,  2.15m.;  W.,  2m.     Photo.,  Alinari,  10125. 

;^rom  the  Franciscan  church  of  S.  Maria  a  Ripa. 

A  companion  piece  to  the  Immaculate  Conception  altarpiece.  Probably 
for  the  same  reason  it  lacks  a  cornice, 

S  Anselmo,  robed  in  white  with  blue  stole  and  pluvial  of  violet  brown, 
bordered  green  lined  yellow,  holding  pastoral  staff  and  book,  is  seated  on  a 
white  throne  with  high  podium  (Fig.  39).  By  his  side  are  standing  to  the 
left  S.  Lorenzo,  robed  in  green  with  blue  pectoral  on  his  breast,  holding  a 
book  and  a  green  palm,  resting  his  arm  over  a  black  gridiron;  and  to  the 
right  S.  Giuliano,  robed  in  violet  with  mantle  of  blue  lined  green,  holding 
a  sword  and  a  book  and  martyr's  palm.  Two  female  Franciscan  saints,  S. 
Rosa  of  Viterbo  bearing  roses,  and  S.  Chiara  holding  a  lily  branch,  kneel 
in  the  foreground. 

The  labels  at  the  extremities  of  the  predella  are  unfortunately  blank. 
The  reliefs  represent  (i)  S.  Girolamo  in  the  desert,  (2)  Christ  in  the 
sepulchre,  and  (3)  S.  Maria  Egiziaca. 

The  pilasters  including  the  capitals  resemble  those  of  the  altar  of  the 
Immaculate  Conception,  so  does  the  architrave  carried  by  them.  The 
frieze  represents  a  series  of  lambs  couchant  alternating  with  two  cherub 
heads,  a  motive  found  in  the  interior  frieze  of  the  Pazzi  chapel  and  used 
many  times  by  Benedetto  Buglioni. 


Bibl. : 

Carocci,  Valdarno,  yi ;  Cr.,  337. 


56 


BENEDETTO  AND  SANTI  BUGLIONI 


■"  c-^/:i>v-K 


1 


Fig.  39. — S.  Anselmo  and  Saints,  Empoli. 

50  TWO  PILASTERS.     Florence.     Bardini  Collection  (formerly). 

The  capitals  of  the  pilasters  showed  two  cornucopias  on  either  side  of  the 
central  lily.  The  pilasters  had  white  listels,  blue  background,  and  were 
decorated  with  pendent  garlands,  bound  with  yellow  ribbons,  hanging  from 
violet  rings. 

Probably  from  an  altarpiece  of  similar  character  to  the  two  in  the  Museo 
at  Empoli. 

51  BUST  OF  S.  GIOVANNINO.    Krefeld.    Kaiser  Wilhelm  Museum. 
H.,  0.49m.    Photo.,  P.  &  H.  Kock. 

From  the  Beckerath  Collection,  Berlin.  The  Baptist  is  here  represented 
younger  than  in  the  Ognissanti  lunette  or  at  Pescia,  but  with  Buglioni  hair 
and  with  notably  characteristic  Buglioni  eyes  (Fig.  40). 


BENEDETTO  AND  SANTI  BUGLIONI  57 


Fig.  40. — i.  Giii\. 


Bibl. : 

Deneken,  II  (1904),  15-16,  Taf.  2;  Schubring,  123;  Spemann's  Mus., 
Aug.  26,  1907;  Tschudi,  82,  Taf.  58. 

52  MADONNA  AND  CHILD  BETWEEN  SAINTS.  S.  Casciano. 
S.  Giovanni  in  Sugana.  Rectangular  altarpiece.  Photo.,  Alinari, 
1 0089- 1 0090. 

The  Madonna,  seated  on  a  bench  set  on  a  podium,  holds  to  the  right  a 
nude  Child  (of  Desiderio  type)  seated  on  a  cushion  (Fig.  41).  She  offers 
him  milk  from  her  breast.  The  refinement  of  the  Madonna's  face  and 
that  of  the  Child  is  so  charming  that  we  overlook  the  coarse  modelling  of  her 
drapery  or  of  the  Child's  body.  These  heads  may  well  be  by  some  other 
hand.  The  Madonna  wears  a  maroon  tunic  over  which  is  a  blue  mantle 
lined  green,  held  together  by  a  yellow  clasp.  To  the  left  is  S.  Giovanni 
Battista  in  brown  haircloth  and  mantle  of  maroon  lined  blue.  He  carries 
a  banner  inscribed  (AGITE)  PENITENTIA(M).  To  the  right  is  S.  An- 
tonio Abate ( ?)  clad  in  brown  with  staff  of  yellow  and  a  book  (the  pig  is 
absent).  In  the  rocky  background  the  Madonna  appears  to  two  women 
watching  a  flock  of  sheep.    Four  groups  of  trees  of  Buglioni  type. 

The  predella  shows  at  the  extremities  the  Giandonati  arms:  Per  fess, 
argent  and  gules;  possibly  those  of  Lodovico  di  Lodovico   Giandonati, 


58 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  41. — The  Madonna,  Child,  and  Saints. 


Capitano  at  Cutigliano  in  1508.  In  the  centre  is  Christ  in  the  sepulchre 
supported  by  the  Madonna  and  S.  Giovanni,  and  at  either  side  S.  Antonio 
Abate(?)  and  S.  Sebastiano. 

The  pilasters  are  decorated  with  pendent  triplex  groups  o£  fruit  and  flow- 
ers, their  capitals  and  the  architrave  recall  the  Empoli  altarpieces.  The  form 


BENEDETTO  AND  SANTI  BUGLIONI  59 

of  the  chapel  was  ill  adapted  for  the  usual  frieze  and  cornice,  hence  the 
three  upright  panels  with  adoring  angels,  capped  by  a  band  of  alternating 
lambs  and  cherub  heads,  with  a  single  cherub  head  surmounting  the  whole. 

Bibl. : 

Burl.,  117;  Carocci,  5.  Case,  157-158;  C-M.,  250  No.  285 ;  CroUalanza, 
s.v.  Giandonati;  Cr.,  354;  M.,  R.  H.,  166-167;  P.,  570;  R.,  D.  R.,  256; 
Sc.  Fl.,  IV,  62. 

53     YOUTHFUL   CHRIST   AND    S.    GIOVANNINO,   PROPHETS 
■     AND  SAINTS.     1504.     Fabbrica  di  Peccioli.     Pieve  di  S.  Maria. 
Rectangular  altarpiece.     Photo.,  Private. 

The  central  relief  of  this  altarpiece  (Fig.  42)  appears  to  have  been  re- 
moved and  in  its  place  is  set  a  tondo  representing  the  Youthful  Christ  and 


Fig.  42. — The  Peccioli  Altarpiece. 

S.  Giovannino  meeting  in  the  Desert,  framed  by  a  garland  composed  of 
fruit  and  flowers  composed  in  transverse  groups  of  two. 

To  the  left  between  two  pilasters  adorned  with  garlands  of  triplex 
bunches  of  fruit  and  flowers  rising  from  high  vases  is  a  niche  containing 
a  statuette  of  S.  Giovanni  Battista  beneath  a  tondo  with  a  bust  of  a  Prophet. 
To  the  right  is  a  similar  niche  with  a  statuette  of  S.  Bartolommeo  beneath 
a  tondo  with  bust  of  a  Prophet. 


6o  BENEDETTO  AND  SANTI  BUGLIONI 

The  predella  contains  at  either  end  the  Gaetani  stemma :  Per  pale,  dex- 
ter, quarterly  argent  (i  and  4)  and  gules  (2  and  3)  ;  sinister,  paly  of  four, 
gules  and  or. 

The  central  predella  relief  represents  the  Nativity  with  Holy  Family 
and  two  shepherds,  and  is  separated  by  plain  pilasters  from  two  tablets  in- 
scribed : 

QVESTA  A  TAVOLA 

A  FAT(T)A  A  FARE  A  BAR 

TOLOMEO  A  DI    BART 

OLOMEO  A  GAETANI 

ANNO  A   DOMINI 

INCARNATION 

IS  A  MCCCCCIIII 
The  pilasters  in  their  ornamentation  show  the  influence  of  Andrea  della 
Robbia,  while  their  capitals  with  cornucopias  of  fruit  suggest  the  influence 
of  Giovanni.  The  entablature  with  its  frieze  of  lambs  and  pairs  of  cherub 
heads  follows  the  Empoli  type.  Above  the  cornice  was  formerly  a  Ma- 
donna and  Child  or  other  group  flanked  by  adoring  angels — of  which  only 
one  remains. 

Bibl. : 

M.,  R.  H.,  143-144. 

54  S.  ANTONIO.     Fabbrica  di  Peccioli.     Pieve  di  S.  Maria.     Statue. 
H.,  1.37m.     Photo.,  Private. 

Clad  in  yellow  with  black  mantle  (Fig.  43) .  Black  pig  at  his  side.  Prob- 
ably same  date  as  altarpiece. 

Bibl. : 
Cr.,  343. 

55  FRAGMENTS:  (i)  OF  HOLY  WATER  STOUP,  (2)  OF  TAB- 
ERNACLE.    Fabbrica  di  Peccioli.     Pieve  di  S.  Maria. 

The  fragments  listed  by  Miss  Cruttwell  are  of  a  Holy  Water  stoup  and 
of  a  Tabernacle. 

Bibl. : 
Cr.,  343. 


BENEDETTO  AND  SANTI  BUGLIONI 


6i 


Fig.  43. — S.  Antonio  Abate. 

56  VOLPINI  ALTARPIECE,  MADONNA  AND  CHILD  AND 
FOUR  SAINTS.  1504.  Tizzano  (near  Dicomano).  S.  Andrea. 
Altarpiece.     Photo.,  Private. 

The  Madonna  enthroned  on  a  square-backed  throne  set  on  a  mottled 
(imitation  of  marble)  podium  holds  to  right  the  nude  Child  who  stands 
on  a  cushion  (Fig.  44).  To  the  left  are  S.  Andrea  holding  a  book  and 
cross,  S.  Stefano  kneeling,  with  stone  on  his  head;  to  the  right  are  S. 
Michele  with  sword  and  globe,  and  S.  Francesco  kneeling.  Overhead  is  a 
framed  disk  and  flying  angels  with  a  scroll  inscribed: 
HIC  A  EST  A  PANIS  A  VIVVS  A 
QVI  A  DE  CELO  A  DESCENDIT 

The  predjella  contains  at  either  end  the  stemma  of  Francesco  Volpini, 
separated  by  unadorned  pilasters  from  the  central  relief  which  shows  two 
kneeling  angels  supporting  a  table  inscribed : 

OB  NIMIAM  •  AC  DEBITAM  REVERENTIAM  •  SACRI 

CVLTVS  •  FRANCISCVS  •  VVOLPINVS  •  QVO 


62 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  44. — The  Volpini  Altarpiece,  Tizzano. 

TEMPORE  •   HVIVS  •  ECCLESIAE  •  RECTOR  •  PREFVIT  • 
BEATE  •  VERGINI  •  AC  •  DIVO  ANDREE  •  CETERISQUE  •  SAN 
CTIS  •  QVORVM  •  HIC  •  EXISTANT  •  IMAGINES  •  PRESE 
NS  •  OPVS  •  MIRA  ARTE  •  COMPOSITVM  •  PIA  RELIGIONE 
DICAVIT-  ANNO  DOMINICE  •  INCARNATIONIS 

MCCCCCIIII    TERTIO     (die  ante)  NONAS  AVGVSTI 
The  pilasters,  adorned  with  garlands  of  triplex  bunches  of  fruit  hang- 
ing from  rings,  have  capitals  and  entablature  of  the  Empoli  type. 

Bibl. : 

Crollalanza,  s.v.  Volpi,  Volpini;  Cr.  356;  M.,  R.  H.,  145-146,  Fig.  137. 


57  CIBORIO,  KNOWN  AS  THE  ALTARE  DI  S.  CRISTINA.  1503- 
1512.  Bolsena.  S.  Cristina.  Round-headed  altarpiece.  H.,  3.40m.; 
W.,  2.55m.     Photo.,  Alinari,  11711. 


BENEDETTO  AND  SANTI  BUGLIONI 


63 


This  Ciborio  (Fig.  45),  enlarged  by  an  additional  frame  and  predella, 
so  as  to  serve  as  an  altarpiece  in  the  Collegiata  of  S.  Cristina,  was  without 
doubt  the  gift  of  Cardinal  Giovanni  di  Medici  when  he  was  established  in 
Bolsena  as  Cardinal  Legate  (1503-15 12). 


Fig.  45. — The  Bolsena  Ciborio. 


64  BENEDETTO  AND  SANTI  BUGLIONI 

The  sportello  contains  a  painting  of  S.  Cristina,  otherwise  every  detail 
is  indicative  of  the  work  of  Benedetto  BugHoni :  the  grated  pavement,  the 
lateral  angels,  the  dove,  the  Christ  of  the  lunette,  especially  the  tondi  of  S. 
Pietro  and  S.  Paolo  in  the  spandrels,  the  elongated  vases  and  other  deco- 
ration of  the  pilasters,  the  lunette  with  its  Desiderio-like  decoration.  The 
frieze  with  its  Pan  masks  and  birds  is  an  innovation  which  recurs  at  a  later 
date  at  Stia.  The  predella  with  its  garlands,  evangelistic  symbols  and  pen- 
dants are  seen  again  in  the  Crucifixion  at  Radicofani.  Characteristic  also 
is  the  outer  frieze  of  cherub  heads,  egg  and  dart  moulding  and  pendent 
garlands  of  fruit  and  wheat.  The  two  candelabrum  bearers,  robed  in  blue, 
with  mantles  of  yellow  lined  green,  are  Buglioni  types,  even  to  the  colour- 
ing of  the  eyes. 

The  predella  shows  at  the  dexter  end  the  Medici  arms :  Or,  five  torteaux 
in  orle,  in  chief  a  hurt.  Above  the  shield  is  a  cross  and  cardinal's  hat.  At 
the  sinister  end  is  a  shield  with  the  Bolsena  stemma :  Gules,  three  pallets  or. 

Between  these  are  three  reliefs  illustrating  the  life  of  S.  Cristina: 
( I )  Unscathed  she  prays  in  the  fiery  furnace,  her  father  Urbanus  and  the 
soldiers  about  her;  (2)  She  is  ordered  bound  to  a  tree  and  her  breasts  ex- 
tracted while  the  idolatrous  image  falls  from  its  pedestal;  (3)  She  is  shot 
by  arrows,  while  an  angel  bears  to  her  a  martyr's  palm.  Below  the  altar 
was  placed  the  recumbent  statue  of  S.  Cristina,  hence  the  altar  was  known 
as  the  Altare  di  S.  Cristina  morta. 

Bibl. : 

Baring-Gould,  July  24;  Briganti,  Cristina  di  Bolsena;  Burl.,  113; 
C-M.,  228  No.  141;  Cr.,  233,  327;  Fabriczy,  R.  f.  K.,  1906,  47;  M., 
R.  H.,  i42-i43>  Fig-  ^34;  R-,  D.  R.,  229-231;  Sc.  Fl,  IV,  50,  52; 
Zampi,  1-9. 

S8     S.  CRISTINA  MORTA.     1503-1512.    Bolsena.    Collegiata,  S.  Cris- 
tina,   Recumbent  Statue.     Photo.,  Alinari,  11 709-11 710. 

Beneath  the  Altare  di  S.  Cristina  morta  was  formerly  placed  the  mortu- 
ary statue  of  S.  Cristina,  which  is  now  in  one  of  the  stanze  adjoining  the 
Collegiata  (Fig.  46),  She  lies  with  crossed  hands,  her  head  on  a  cushion, 
reminding  us  of  Rossellino's  Maria  of  Aragon  at  Naples.  About  her  neck 
is  the  rope  to  which  the  millstone  was  attached.  The  statue  is  attributable, 
from  its  resemblance  to  the  Immaculate  Virgin  of  Empoli,  to  Benedetto 
Buglioni.  It  is  unglazed.  The  urn  which  contains  the  ashes  of  S.  Cris- 
tina is  now  preserved  in  Palermo. 


BENEDETTO  AND  SANTI  BUGLIONI  65 

Bibl. : 

Boglino,  Palermo  e  S.  Cristina;  Cr.,  252,  334;  Foratti,  Rass  d'Arte, 
XIX  (1919),  22-32;  Gnoli,  Nuov.  AntoL,  1893,  630;  R.,  D.  R., 
221,  257-258;  Sc.  Fl.,  IV,  47,  6s;  S.,  149,  Abb.  172;  Zampi,  4,  lo-ii. 


Fig.  46. — S.  Cristina  Morta,  Bolsena. 

59  THE  CRUCIFIXION  AND  THE  MIRACLE  OF  BOLSENA. 
1 503-1 5 1 2.  Bolsena.  Collegiata,  S.  Cristina.  Crypt.  Round-headed 
altarpiece.     H.,  2m.;  W.,  1.50m.     Photo.,  Moscioni. 

Moscioni's  photograph  was  issued  before  the  restoration  of  the  baldac- 
chino  in  1881-1887  by  Paolo  Zampi,  and  shows  the  ancient  marble  columns 
(Fig.  47).  The  altarpiece  like  one  at  Badia  Tedalda,  was  divided  into  two 
parts.  ( I )  The  upper,  round-headed  portion  portrays  the  Crucified  One  on 
a  broad  cross,  to  the  base  of  which  clings  the  Maddalena.  At  the  sides  are 
the  Mater  Dolorosa  and  S.  Giovanni  Evangelista  in  a  landscape  of  brown 
rocks  and  green  trees.  Above  is  the  yellow  sun,  the  blue  moon,  and  two 
chalice-bearing,  flying  angels  and  a  light  blue  sky.  (2)  The  lower,  rec- 
tangular section  shows  the  Miracle  of  Bolsena  with  the  priest  of  Orvieto 
celebrating  mass  before  the  altar,  at  the  base  and  sides  of  which  are  the 
pious  inhabitants  of  Bolsena.    A  book  on  the  altar  is  inscribed  miraco(lo). 

The  frame  shows:  (i)  low  blue  vases,  the  bases  of  which  are  set  with 
an  angle  toward  the  spectator,  from  which  rise  continuous  fruit  garlands 
composed  alike  with  slight  regard  to  the  rhythm  or  symmetry;  (2)  An  outer 
egg  and  dart  moulding. 

The  predella  shows  a  polychromatic  frieze  of  swinging  and  pendent 
garlands  framed  by  upright  and  pendent  leaf  mouldings. 

Bibl. : 

Burl.,  113;  C-M.,  228  No.  144;  Cr.,  334;  Zampi,  ii-15. 

60  ARCHIVOLT  WITH  CHERUB  HEADS.  Bolsena.  S.  Cristina. 
Photo.,  Moscioni. 

An  arched  frieze  with  raised  edges  enclosing  ten  cherub  heads  on  clouds 


66 


BENEDETTO  AND  SANTI  BUGLIONI 


touched  with  yellow  and  blue.     Paolo  Zampi  suggests  that  it  formed  the 
archivolt  for  the  arcosolium  opposite  that  of  the  Filotimi. 

Bibl. : 

Zampi,  14  note  2. 


Fig.  47.— The  Mikaci.i:  hf  Bolsena. 


61     ARSOLI.    CATHEDRAL. 

Arched  frieze  with  raised  edges  enclosing  ten  cherub  heads,  white  on 
blue.    Similar  to  one  at  Bolsena. 


BENEDETTO  AND  SANTI  BUGLIONI 


67 


62  (i)  A  BISHOP  BLESSING.  (2)  CANDELABRUM  BEARING 
ANGELS.     Bolsena.     Collegiata,  S.  Cristina,  Sacristy.     Fragments. 

In  the  sacristy  are  preserved  fragments  of  a  Bishop  blessing,  also  of  two 
Candelabrum  bearing  Angels. 

63  CHRIST  CRUCIFIED  AND  THE  MADDALENA.  Radicofani. 
S.  Pietro.  Apsidal  chapel  to  right.  Altarpiece.  H.,  2.84m.;  W., 
1.93m.     Photo.,  Private. 


This  relief  (Fig.  48),  composed  like  the  Resurrection  at  Pistoia,  shows 


Fig.  48. — The  Radicofani  Crucifixion. 


68  BENEDETTO  AND  SANTI  BUGLIONI 

the  influence  both  of  Andrea  della  Robbia  and  of  Antonio  RosselHno. 
Buglioni  had  now  seen  Andrea's  Crucifixions  at  La  Verna  and  Arezzo  and 
Antonio's  altarpiece  now  in  the  Church  of  Monteoliveto  at  Naples.  He 
recognizes  the  limitations  of  the  frame  and  confines  his  composition  within 
it,  but  his  arrangement  of  cherub  heads  especially  in  the  arched  top  of  the 
frame  is  by  no  means  so  successful  as  Andrea's.  The  Christ  is  carefully 
modelled,  and  the  Maddalena  leans  against  the  cross  with  almost  too  much 
self-abnegation.  The  chalice-bearing  angels  are  less  Verrocchian  than  in 
the  Resurrection  relief.  Green  palms,  trees  with  fruit,  and  dead,  leafless 
trees  form  an  avenue  in  a  rocky  landscape,  against  a  light  blue  sky.  It  is 
a  similar,  but  finer  composition  than  the  Crucifixion  at  Bolsena. 

The  predella  with  its  garland  and  evangelistic  symbols,  like  those  at  Bol- 
sena, is  based  on  Rossellino's  predella  of  the  Nativity  altarpiece  at  Naples. 
The  ox  holds  an  open  book  inscribed-  SEQVENTIZIA-  (SA)NTI- 
EVANGIELI  (SECVNDM  LVCAM).  The  book  held  by  the  angel  is  in- 
scribed- SEQVENZIA-  SANT(I)  EVANGIELI  SECHVNDVM- 
MATEV(M):  that  of  the  eagle  SEQVENZIA- SANTI  EVANGELI 
SECVNDO-  lOANNE(M) ;  and  that  of  the  lion  SEQVENZIA  SANTI 
EVANGELI-  SECVNDVM-  MARCV(M).  The  order,  Luke,  Matthew, 
John,  Mark  is  unusual. 

Bibl. : 

Brogi,  Inv.,  437;  Burl.,  116;  C-M.,  247  No.  260;  Cr.,  353. 

64  MADONNA  AND  CHILD  BETWEEN  SAINTS.  1503-1512. 
Bolsena.  Collegiata,  S.  Cristina.  Entrance  portal.  Lunette.  H., 
0.79m.;  W.,  2.27m.     Photo.,  Alinari,  11 704-1 1705. 

The  lunette  (Fig.  49)  over  the  entrance  portal  of  the  new  fagade  do- 
nated by  Cardinal  Giovanni  di  Medici  (later  Pope  Leo  X)  contains  a  Ma- 
donna, three  quarters  length,  holding  to  the  left  a  nude  Child  who  is  bless- 


FiG.  49. — The  Bolsena  AIado.nna,  Child,  axu  Saints. 


BENEDETTO  AND  SANTI  BUGLIONI  69 

ing  and  holding  an  apple.  To  the  left  is  S.  Cristina,  with  millstone  bound 
by  a  rope  to  her  neck.  She  also  carries  a  sprouting  rod.  To  the  right 
is  S.  Giorgio,  in  armour,  holding  a  club  (?)  and  a  shield  with  the  Bolsena 
arms :    Gules  three  pallets  or. 

Bibl. : 

Burl.,  113;  C-M.,  228  No.  142;  Cr.,  334;  Fabriczy,  R.  f.  K.,  1906. 
47;  R.,  D.  R.,  211-212;  Sc.  FL,  III,  178;  Zampi,  11  note  2. 

65  S.  LEONARDO  AND  TWO  MONKS.  1503-1512.  Bolsena.  Col- 
legiata,  S.  Cristina.  Oratorio.  Lunette.  H.,  0.74m.;  W.,  1.25m 
Photo.,  Alinari,  11 706. 

Over  the  exterior  door  to  the  Oratorio  is  a  lunette  in  which  S.  Leonardo, 
robed  as  a  deacon,  holding  in  his  right  hand  a  yoke,  in  his  left  a  book,  is 
adored  by  two  kneeling  monks  with  scourges  in  their  hands  (Fig.  50), 
White  figures,  blue  background. 


Fig.  50. — S.  Leonardo  Between  Two  Monks. 


Bibl. : 

Burl.,  C-M.,  228  No.  143;  Cr.,  334. 

66  (i)  THE  SPOSALIZIO.  (2)  EMBLEM  OF  JESUS.  Rifredi. 
S.  Stefano  in  Pane.  Round-headed  relief.  H.,  1.26m.;  W.,  0.90m. 
Photo.,  Private. 

(i)  From  S.  Maria  a  Novoli.  Twice  injured  by  treasure  hunters,  a 
reproduction  was  set  up  at  Olmatello  and  the  original  (Fig.  51)  transported 
to  Rifredi.  The  High  Priest,  the  upper  half  of  S.  Giuseppe  and  the  heads 
behind  him  are  modern. 

The  Madonna,  clad  in  violet  edged  yellow  with  mantle  of  blue  lined 
green,  extends  her  hand  for  the  ring.  Behind  her  is  S.  Anna  and  three 
young  women.  She  stands  on  mottled  green  ground.  S.  Giuseppe  is  clad 
in  blue  tunic  with  mantle  of  yellow  lined  green. 

The  frame  encloses  between  architectural  mouldings  a  frieze  of  four- 


70  BENEDETTO  AND  SANTI  BUGLIONI 

teen  cherub  heads  with  yellow  haloes  set  on  clouds  touched  with  greenish 
yellow  against  the  blue  sky.  At  the  apex  is  a  bust  of  God  the  Father 
blessing,  clad  in  violet  with  mantle  of  blue  lined  green.  Between  him  and 
the  High  Priest  floats  the  Holy  Dove. 


Fig.  51. — The   Sposalizio,   Rifredi. 

A  rectangular  tablet  below  is  inscribed : 

DESPONSATA  SVM  • 

HOMINI  IVDEO  ET  PLA 

CVI  ALTISSIMO  DEO 
(2)   Above  the  altarpiece  is  a  medallion  with  the  emblem  of  Jesus,  yellow 
letters  on  blue,  surrounded  by  yellow  rays  of  light,  each  waving  ray  suc- 
ceeded by  three  straight  ones. 

Bibl. : 

Carocci,  Dint.,  I,  333,  339;  Cr.  355. 

67  MADONNA  AND  CHILD  BETWEEN  SAINTS.  Arezzo.  Piazza 
di  Badia.  Post  Office.  Lunette.  H.,  0.77m.;  W.,  1.75m.  Photo., 
Alinari,  9733. 


BENEDETTO  AND  SANTI  BUGLIONI  71 

Similar  in  general  to  the  lunette  over  entrance  to  S.  Cristina,  Bolsena. 
The  Madonna,  robed  in  violet  with  mantle  of  blue  lined  green,  holds  to  the 
left  the  nude  Child  blessing  (Fig.  52)  and  holding  an  apple.    Buglioni  eyes. 


Fig.  52. — Madonna,  Child,  and  Saints,  Arezzu. 

To  the  left  is  S.  Benedetto,  with  martyr's  palm  and  book;  to  the  right  a 
female  saint  in  blue  with  mantle  of  violet  lined  yellow. 

Bibl. : 

Burl.,  112;  C-M.,  224  No.  120;  Cr.,  331. 

68  MADONNA  AND  SAINTS.     Campi.     S.  Piero  a  Ponte.     Over 
entrance.    Lunette.     H.,  0.92m. ;  W.,  1.75m.     Photo,  Private. 

The  Madonna,  with  white  headdress,  maroon  tunic,  mantle  blue  lined 
green,  holds  on  her  right  arm  the  nude  Child.  To  the  left  S.  Pietro,  in  blue 
edged  yellow  and  mantle  of  yellow  lined  green,  holds  two  keys,  yellow  and 
white.  To  the  right  S.  Paolo,  in  blue  tunic  and  mantle  of  maroon  lined 
green,  holds  a  book  and  sword.  Atelier  work.  Nudes  of  SS.  Pietro  e  Paolo 
painted  over  the  white  glaze. 

Bibl. : 

Burl.,  113;  Carocci,  Dint.,  I,  365;  C-M.,  230  No.  155;  Cr.,  335. 

69  MADONNA   DELLE   GRAZIE.      Florence.      Palazzo   Frescobaldi. 
Photo.,  Private. 

This  relief  set  over  the  mantelpiece  in  the  sitting  room  of  the  Palazzo 
Frescobaldi  exhibits  a  standing  Madonna  robed  in  maroon  tunic  and  blue 
mantle,  holding  on  her  left  arm  a  nude  Child  blessing.  At  her  feet  on 
either  side  a  company  of  worshippers  on  their  knees. 

The  predella  is  inscribed : 


72  BENEDETTO  AND  SANTI  BUGLIONI 

QVESTA  NOSTRA  DONNA  AFFATTO  FARE   E  SVA 

CHOMPAGNI ACCIO  QVANDO  SONO  INVIAGGIO  LASIA 

ILLORO  AIVTO  ET  ALLORA  ET  SEMPRE. 

Frame :  cherub  heads,  egg  and  dart  and  outer  fruit  garland. 

70  MADONNA  ENTHRONED  WITH  SAINTS.  Antona  (near 
Massa-Carrara) .  S.  Gimignano.  Altarpiece  with  lunette.  H., 
2.76m.;  W.,  1.84m.     Photo.,  Private. 

The  central  relief  represents  on  a  throne  with  high  carved  back,  violet 
bordered  yellow,  the  Madonna,  who  is  robed  in  violet  with  mantle  of  blue 
lined  green,  holding  in  her  lap  the  Child,  nude  except  for  a  light  veil  over 
his  shoulders  (Fig.  53).  Two  angels  in  flowing  robes  set  a  crown  upon 
her  head.  To  the  left  stand  a  monastic  saint,  in  white  habit  holding  a  book, 
and  S.  Gimignano,  mitred,  robed  in  white  with  pluvial  of  mottled  violet 
lined  yellow,  holding  a  yellow  pastoral  staff  and  a  violet  book.  To  the 
right  stand  S.  Pietro,  in  blue  tunic  and  mantle  of  yellow  lined  violet,  hold- 
ing two  keys  and  a  book,  and  S.  Giovanni  Battista  in  brown  hair  cloth, 
with  mantle  of  blue  lined  green,  holding  a  yellow  cross  and  a  scroll.  Very 
light  blue  background. 

The  predella  has  at  each  end  a  shield  inscribed  blue  on  white  OP(ER)A, 
indicating  that  the  altarpiece  was  commissioned  by  the  Opera  of  the 
church.  Separated  by  yellow  balusters  are  three  reliefs :  ( i )  A  miracle 
performed  by  S.  Gimignano;  (2)  the  Annunciation;  (3)  the  death  of  S. 
Gimignano. 

The  frame  of  the  large  relief  resembles  in  general  that  at  Tizzano  (1504) 
except  that  the  pendent  garlands  of  the  pilasters  are  continuous,  not  di- 
vided into  separate  bunches.  Its  frieze  consists  of  pairs  of  cherub  heads 
alternating  with  Paschal  lambs. 

The  lunette  exhibits  the  usual  Buglioni  landscape  background  of  rocks 
and  trees,  with  a  Nativity  scene  in  the  foreground.  An  excerpt  from  this, 
the  Madonna  adoring  the  Child  upheld  by  an  angel  occurs  frequently  in 
medallion  form. 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Buglioni;  Campori,  288  note  i;  Cr.,  327; 
Mazzini,  Frontispiece,  10-13. 

71  MADONNA  ADORING  CHILD  UPHELD  BY  AN  ANGEL. 
Berlin.  Kaiser-Friedrich  Museum,  No.  109  (I.  153).  Medallion. 
Diam.,  1.12m.    Photo.,  Private. 

From  the  Bartholdi  Collection,  1828. 

Similar  to  the  composition  in  the  lunette  of  the  altarpiece  at  Antona. 


BENEDETTO  AND  SANTI  BUGLIONI 


73 


The  Madonna,  robed  in  white  ornamented  with  golden  stars,  and  sur- 
rounded by  straight  and  waving  rays  of  light,  kneels  in  adoration  before 
the  nude  Child  who  is  supported  by  an  Angel.  The  Child  rests  on  his 
mother's  drapery ;  the  entire  group  on  clouds. 


Fig.  53. — The  Antona  Altarpiece. 

Frame:  (i)  yellow  beads;  (2)  cherub  heads  in  yellow  clouds  separated 
by  stars  (cf.  A.  Rossellino,  also  B.  da  Maiano)  ;  (3)  egg  and  dart  mould- 
ing; (4)  irregularly  composed,  continuous  wreath  of  fruit,  flowers,  and 
wheat;  (5)  scale  ornament. 

Bibl. : 

B.  und  Tsch.,  No.  122;  C-M.,  260  No.  348;  Cr.,  333;  M.,  D.  R.  A., 
136-143;  R.,  D.  R.,  160;  Sc.  Fl.,  Ill,  154;  Schottmiiller,  46  No.  109. 


74  BENEDETTO  AND  SANTI  BUGLIONI 

72  SAME  SUBJECT.    Florence.    Museo  Nazionale,  No.  7.    Medallion. 
Diam.,  1.20m. 

Similar  to  Berlin  No.  109.  Frame  similar.  From  the  Ospedale  militare. 
Modern  reproductions  of  this  medallion  are  sold  by  the  Ginori  Co.,  Flor- 
ence. 

Bibl. : 

Burl.,  109;  Cr.,  337;  Supino,  437  No.  7. 

73  SAME  SUBJECT.     Paris.     Seilliere  Collection  (formerly).     Medal- 
lion.    Diam.,  1.15m. 

A  replica  of  the  medallion  in  the  Museo  Nazionale  (No.  7),  and  Berlin 
Museum  (No.  109). 

Bibl. : 

Seilliere  Coll.,  Cat.,  No.  2. 

74  SAME  SUBJECT.     Madrid.     Collection  of  Marques  de  Cerralbo. 
Medallion.     Photo.,  Private. 

A  copy  of  the  Berlin  medallion  No.  109,  with  the  type  of  Virgin  modi- 
fied, the  sequence  in  cherub  head  frieze  changed,  and  the  outer  scale  mould- 
ing omitted  (Fig.  54). 

75  SAME  SUBJECT.     New  York.     Mrs.  P.  M.  Lydig  Collection  (for- 
merly).    Medallion.     Diam.,  0.97m.     Photo.,  Pach. 

From  the  Molinier  collection,  Paris.  Same  composition,  with  slight 
variations,  as  that  of  the  medallion  in  the  Berlin  Museum.  Frame  also 
similar,  but  consists  only  of  beads  and  a  garland. 

Bibl. : 
Lydig  Coll.,  Cat.,  No.  122;  M.,  D.  R.  A.,  136-143,  Fig.  57;  Molinier, 
Cat.,  Frontispiece. 

76  SAME   SUBJECT.     Guilford.     Collection   of   Mrs.   G.   F.   Watts. 
Photo.,  Private. 

Similar  to  the  preceding. 

Bibl. : 
Cr. 


BENEDETTO  AND  SANTI  BUGLIONI 


75 


Fig.  54. — The  Madonna  Adoring  the  Child 

UPHELD  BY  AN   AnGEL,    MaDRID. 

77  SAME  SUBJECT.  Braunschweig.  Collection  Frau  Vieweg.  Me- 
dallion.    Diam.,  0.64m. 

Similar  to  the  preceding,  with  frame  of  bead  moulding  only. 

78  SAME  SUBJECT.  Florence.  Orselli's  (in  1908).  Medallion. 
Diam.,  0.62m. 

Similar  to  the  preceding. 

79  SAME  SUBJECT.  Paris.  Collection  of  M.  le  Baron  Pierre  de  Cou- 
bertin.     Medallion,  Diam.,  0.72m. 

A  polychromatic  version  of  the  same.     Nudes  not  glazed.     The  frame 
has  a  garland  composed  of  triplex  bunches  of  fruit. 

80  MADONNA  AND  CHILD,  S.  GIOVANNINO  AND  TWO  AN- 
GELS. S.  Casciano.  S.  Giovanni  in  Sugana.  Medallion.  Photo  , 
Private. 


The  Madonna  seated  on  the  ground  holds  on  her  lap  the  nude  Child 


76 


BENEDETTO  AND  SANTI  BUGLIONI 


blessing.  To  the  left  is  S.  Giovannino  kneeling  on  a  cushion,  supported  by 
an  angel.  To  the  right  an  angel  with  grapes.  White  against  blue.  Bug- 
lioni  eyes. 

Frame :    an  inner  egg  and  dart  moulding,  and  an  outer  garland  of  long 
bunches  of  fruit,  flowers,  and  wheat  irregularly  composed. 

Bibl. : 

Burl.,  117;  Carocci,  5.  Casciano,  159. 


81     SAME  SUBJECT.     Empoli.     Museo  della  Collegiata.     Medallion. 
Diam.,  1.04m.    Photo.,  Private. 

This  medallion  (Fig.  55),  is  a  repetition  of  the  S.  Casciano  tondo. 

Bibl. : 

B.,  Kf.,  25;  Burl.,  114;  Cr.,  337. 


Fig.  55. — The  Madonna,  Child,  S.  Giovannino, 
AND  Two  Angels,  Empoli. 

82     SAME  SUBJECT.     Berlin.     Kaiser  Friedrich  Museum.     No.   120 
(I.  157).     Medallion.    Diam.,  0.92m.     Photo.,  Museum. 

Repetition  of  S.  Casciano  tondo.    Acquired  in  Italy  in  1858. 

Bibl. : 

C-M.,  261  No.  356;  Schottmiiller,  51  No.  120. 


BENEDETTO  AND  SANTI  BUGLIONI 


n 


83  SAME  SUBJECT.  Florence.  Palazzo  Frescobaldi.  Tondo.  Photo., 
Private. 

Repetition  of  the  S.  Casciano  tondo. 

84  MADONNA  ENTHRONED  BETWEEN  SS.  ANTONIO  ABATE 
AND  SEBASTIANO.  Montemignaio.  Roadside  shrine.  Altar- 
piece.     H.,  2.iom. ;  W.,  1.65m.     Photo.,  Private, 

The  Madonna,  seated  on  a  bench  on  a  low  podium,  robed  in  maroon 
with  mantle  of  blue  lined  green,  holds  to  her  right  the  nude  Child  standing 
on  a  cushion  (Fig.  56).  The  Child  holds  ends  of  Madonna's  veil.  Bugli- 
oni  eyes.  To  the  left  is  S.  Antonio  Abate  in  gray  robe  and  black  mantle, 
holding  staff  and  book.  A  black  pig  at  his  feet.  To  the  right  is  S.  Sebas- 
tiano,  nude  with  white  loin  cloth,  bound  against  a  tree  trunk.  A  curtain 
is  swung  above  their  heads. 

The  predella  reliefs  represent :     ( i )  S.  Francesco  receiving  the  stigmata ; 


Fig.  56. — The  Montemignaio  Altarpiece. 


78  BENEDETTO  AND  SANTI  BUGLIONI 

(2)  Christ  in  sepulchre;  (3)  S.  Girolamo  praying  in  the  desert.  They  are 
separated  by  balusters.  The  frame  of  the  principal  relief  shows  rising 
garlands  of  continuous,  chiefly  triplex,  bunches  of  fruit  and  wheat  sur- 
rounded by  an  outer  egg  and  dart  moulding. 

Bibl. : 

Beni,  229;  C-M.,  229  No.  151,  238  No.  204;  Cr.,  348;  Filangieri  Cat, 
I,  486-488,  Doc,  VI,  361 ;  Vas.,  II,  199. 

85  MADONNA  ENTHRONED  BETWEEN  SS.  ANTONIO  ABATE 
AND  SEBASTIANO.     Caiano.     Cappella  Passalacqua. 

Cavallucci  and  Molinier  list  as  in  the  Cappella  Passalacqua  at  Caiano  a 
Madonna  the  description  of  which  corresponds  with  that  at  Montemignaio, 
except  for  the  fact  that  the  Caiano  relief  has  two  angels  holding  a  crown 
above  the  Madonna's  head. 

Bibl. : 

C-M.,  229  No.  151;  Cr.,  335. 

86  MADONNA  ENTHRONED  BETWEEN  S.  ANTONIO  ABATE 
AND  S.  SEBASTIANO.     Doccialina.     Chiesa.     Altarpiece. 

Cavallucci  and  Molinier's  description  tallies  almost  exactly  with  the  al- 
tarpiece at  Montemignaio. 

Bibl. : 

Burl.,  114;  C-M.,  231  No.  168;  Cr.,  337. 

87  MADONNA  ENTHRONED  AND   SAINTS.     Diacceto.     Shrine 
near  main  street.     H.,  1.76m.;  W.,  im.     Photo.,  Private. 

The  Madonna,  in  type  recalling  the  Madonna  of  Montemignaio,  is  clad 
in  maroon  with  mantle  of  blue  lined  green,  and  holds  on  her  knee  wrapped 
in  her  veil  the  otherwise  nude  Child  holding  a  bird.  She  is  seated  on  a 
bench  which  rests  on  a  double  podium  in  front  of  an  apparent  niche,  the 
cornice  of  which  extends  to  right  and  left,  as  in  the  Morgan  altarpiece. 
To  the  left  and  right  stand  angels  with  baskets  or  vases  of  flowers.  Above 
the  archivolt  of  the  niche  are  three  large  cherub  heads. 

At  right  angles  to  the  relief,  on  the  side  walls  of  the  shrine,  stand  two 
old  bearded  saints.  The  one  to  the  left,  S.  Girolamo,  carries  a  crucifix  and 
a  book,  and  is  clad  in  maroon  coloured  habit ;  a  tree  on  each  side.    To  the 


BENEDETTO  AND  SANTI  BUGLIONI 


79 


right  is  S.  Antonio  Abate,  also  in  maroon,  with  yellow  staff  and  book, 
and  a  pig  at  his  feet. 

It  may  be  recalled  that  Benedetto  Buglioni's  grandfather  Bernardo  in- 
herited a  farm  at  Diacceto. 

88     STATUETTE  OF  DOVIZIA.     Berlin.     Kaiser-Friedrich  Museum. 
No.  ii6  (I.  i6i).     H.,  1.25m.     Photo.,  Museum. 

This  statuette  (Fig.  57),  known  as  a  Pomona,  is  similar  in  conception 


Fig.  57. — Statuette  of  Dovizia.    Berlin  Museum. 

to  Giovanni  della  Robbia's  statuette  in  the  Minneapolis  Museum,  inscribed : 
GLORIA :  ET  DIVITIE  :  IN  :  DOMO  TVA.  Hence  we  prefer  to  desig- 
nate it  La  Dovizia.  Like  its  prototype  it  was  probably  designed  to  be  a 
gift  accompanied  with  wishes  for  domestic  prosperity. 

Polychromatic  fruit  in  a  blue  dish  and  cornucopia ;  white  figure  standing 
on  light  green  base. 


8o  BENEDETTO  AND  SANTI  BUGLIONI 

Bibl. : 

B-Tschudi,  43,  No.  131 ;  C-M.,  261  No.  358;  M.,  A.  in  A.,  ¥(1917), 
196;  G.  D.  R.,  209;  Schottmiiller,  50  No.  116. 

89  SAME  SUBJECT.    Florence.     Bardini  Collection,  formerly.     Statu- 
ette.   H.,  0.83m. 

Similar,  with  variations,  to  the  preceding. 

Holds  in  her  left  hand  a  bunch  of  violet  grapes  and  a  cornucopia.     On 
her  head  is  a  blue  vase  of  fruit.  \ 

Bibl. : 

Bardini  Coll.,  Sale  of  1902,  Cat.,  No.  516  PI.  23. 

90  S.   LUCIA.      1 503-1 5 12.      Bolsena.      S.    Cristina.     Relief  bust.   H., 
0.75m.     Photo.,  Private. 

Half  figure  of  S.  Lucia  (Fig.  58),  clad  in  maroon  with  mantle  of  blue 


Fig.  58. — S.  Lucia,  Bolsena. 

lined  green,  veil  on  head  and  crossing  her  breast,  holding  a  book  and  a 
plate  on  which  are  two  eyes.  Her  own  eyes  are  coloured  in  Buglioni 
fashion. 


BENEDETTO  AND  SANTI  BUGLIONI 


8i 


91     MADONNA  ENTHRONED  WITH  SAINTS.    Rincine.    S.  Elena. 
Square  altarpiece.     Photo.,  Private. 

The  Madonna,  holding  to  the  right  the  nude  Child  who  stands  on  a 
cushion  blessing,  is  seated  on  a  bench  set  on  a  podium  (Fig  .59).  About 
her  stand  to  the  left,  S.  Bartolommeo,  S.  Niccolo  da  Bari(?);  to  the 
right,  S.  Lucia  with  martyr's  palm  and  dish  and  S.  Antonio  Abate,  with 


Fig.  59. — The  Rincine  Altarpiece. 

staff,  book  and  black  pig.  The  Madonna  resembles  the  S.  Lucia  at  Bolsena 
and  the  colours,  chiefly  maroon  and  light  blue,  are  those  favoured  by 
Benedetto  Buglioni. 

The  frame  consists  of  a  garland  of  fruit,  flowers,  and  wheat  between 
white  fillet  mouldings. 

Bibl. : 
Cr.,  353- 

92  MADONNA  AND  CHILD  BETWEEN  TWO  ANGELS.  Balti- 
more. Collection  of  Mr.  Henry  Walters.  Relief  figures.  H.,  0.73m. 
Photo.,  Private. 

From  the  Don  Marcello  Massarenti  Collection,  Rome.  White  figures. 
Buglioni  eyes.  The  Madonna  in  half  figure  (Fig.  60)  holds  to  the  left 
the  nude  Desiderio-like  Child  who  is  blessing  and  holding  the  crown  of 
thorns  and  nails. 


82 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  6o — Madonna  and  Two  Angels,  Baltimore. 

To  left  and  right  is  an  angel,  in  three  quarter  figure,  adoring  with  folded 
hands. 

This  Madonna  with  adoring  angels  probably  occupied  a  lunette  above  a 
door  or  altarpiece. 

Bibl. : 

M.,  D.  R.  A.,  167,  Fig.  69. 

93  MADONNA  AND  CHILD.     Baltimore.     Collection  of  Mr.  Henry 
Walters.     Group.  H.,   im.     Photo.,  Private. 

The  half  length  Madonna,  in  maroon  with  mantle  of  blue  lined  green, 
a  white  kerchief  on  her  head  and  around  her  neck,  holds  to  right  a  lightly 
draped  Child  who  stands  on  a  white  pedestal  (Fig.  61).  Nudes  unglazed. 
Bought  from  Raoul  Heilbronner  Paris. 

Bibl. : 

M.,  D.  R.  A.,  168,  Fig.  71. 

94  BUST  OF  A  FEMALE  SAINT.     Roslyn,  L.  I.     Collection  of  Mr. 
Stanley  Mortimer.    Photo.,  Private. 


Face  and  hair  unglazed.     Looks  wistfully  down,  as  if  part  of  a  compo- 
sition of  the  Madonna  and  Child.    But  the  colouring  of  the  garments,  the 


BENEDETTO  AND  SANTI  BUGLIONI 


83 


Fig.  61. — Madonna  and  Child,  Baltimore. 

dark  blue  robe  with  veil  of  very  light  blue  lined  light  green  are  uncanonical 
for  a  Madonna  and  more  fitting  for  some  other  saint,  e.g.  S.  Cristina  or 
S.  Lucia. 

Bibl. : 

M.,  D.  R.A.,  167-168. 

95     BUST  OF  A  FEMALE  SAINT.     Baltimore.     Collection  of  Mr. 
Henry  Walters. 

Unglazed  replica  (Fig.  62)  of  the  preceding. 

Bibl. : 

M.,  D.  R.  A.,  167,  Fig.  70. 


96  MADONNA  ENTHRONED  WITH  SAINTS.  Paris.  Louvre, 
Nos.  431,  439.  Altarpiece  with  lunette.  H.,  2.80m. ;  W.,  2m.  Photo., 
Alinari,  22379. 

The  Madonna  is  robed  in  violet,  her  mantle  blue  lined  green  (Fig.  63). 
She  supports  on  her  right  knee  the  nude  Child  who  is  blessing  and  holding 


84 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  62. — Bust  of  a  Saint,  Baltimore. 


Fig.  63. — Madonna   and    Saints,   Louvre, 


BENEDETTO  AND  SANTI  BUGLIONI  85 

an  apple.  Her  veil  crosses  his  body.  To  the  left  stands  S.  Francesco,  in 
gray  habit,  with  stigmata,  holding  a  book ;  to  the  right,  S.  Rocco  in  brown 
and  with  yellow  pilgrim's  stafif.     Background  missing. 

The  predella  shows :  ( i )  Female  Martyr  saint  holding  a  palm  branch 
and  a  church  or  tower;  (2)  La  Maddalena,  long  haired,  holding  a  yellow 
box;  (3)  Cherub  head;  (4)  S.  Lucia,  with  palm  branch  and  vase;  and  (5) 
S.  Caterina  of  Alexandria,  with  palm  branch  and  wheel. 

The  principal  frame  has  pilaster  with  garlands  composed  by  triplex 
bunches  of  fruit  separated  by  yellow  ribbons  and  hanging  from  violet 
rings  in  panels,  above  which  are  capitals  of  the  Buglioni  type  supporting 
a  meagre  entablature  from  which  architrave,  frieze  and  upper  member  of 
the  cornice  are  missing.  The  lunette  contains  a  half  figure  of  God  the 
Father  blessing  and  holding  open  a  book  inscribed  A  fi.  He  is  surrounded 
by  four  cherub  heads  on  clouds  streaked  with  yellow  and  black  against  a 
blue  sky.     Framed  by  pendent  garlands  and  egg  and  dart  moulding. 

Bibl. : 

B.  J.,  Desc,  6  No.  2;  Burl.,  120;  C-M.,  274  No.  434;  277  No.  444; 
Cr.,  330>  350- 

97     STEMMA  OF  GUGLIELMO  ALESSANDRL     1507.     S.  Giovanni 
in  Valdarno,  Palazzo  Pretorio.     Photo.,  Private. 

Within  a  wreath  of  fruit,  flowers,  and  wheat,  arranged  in  roughly 
triplex  groups  bounded  by  an  egg  and  dart  moulding  is  a  beribboned  Tus- 
can shield  containing  the  stemma  (Fig.  64)  of  the  Alessandri  family: 
Azure,  a  double-headed  lamb  passant  argent;  in  chief  a  serpent  gules. 


Fig.  64. — Stemma  of  Guglielmo  Alessandri. 


86  BENEDETTO  AND  SANTI  BUGLIONI 

Below  is  a  horizontal  scroll  inscribed: 

GVGLELMO  A  DAN 

TONIO  A  DI  M(ESSER)  AL 

ESANDRO  A  DELLI 

ALESANDRI  A  VIC(ARI)0  A  ET 

COM(MISSARI)0    1506  1507 
Gnglielmo  d' Antonio  di  Messer  Alessandro  d'Ugo  di  Bartolo  Alessandri 
became  a  Prior  in  Florence  in  1516. 

Bibl. : 

C.,  s.v.  Alessandri;  M.,  R.  H.,  159-160  Fig.   151;  P.,  47,  455-457; 
W.,  125. 

98     STEMMA  OF  FILIPPO  PERUZZI.     1508.     Scarperia,  Palazzo  del 
Vicariato.     Photo.,  Private. 

Within  a  wreath  composed  irregularly  of  fruit,  flowers,  and  wheat,  with 
an  inner  tgg  and  dart  moulding,  on  a  flat  plate  is  a  beribboned  Tuscan 
shield  (Fig.  65)  bearing  the  Peruzzi  arms:  Azure,  six  pears,  three,  two, 
and  one  or. 


Fig.  65. — Stem  MA  of  Filippo  Peruzzi. 

Below,  on  a  rectangular  tablet  is  inscribed : 

AFilippo  A  DI  GIOV 

ANNI  A  PERVZI 

A  V(ICARI)0  A  ET  (COMMISSARIO)  A  1507  A  1508 
Filippo  di  Giovanni  di  Rinieri  Peruzzi  was  a  Prior  in  Florence  in  1503. 


Bibl. 


C.,  s.v.  Peruzzi;  M.,  R.  H.,  168-169  Fig.  157,  P-,  86-88;  W.,  164. 


BENEDETTO  AND  SANTI  BUGLIONI  87 

99  TWO  ALTARPIECES   (formerly).     1508.     Massa-Carrara.     Du- 
omo,  S.  Francesco. 

According  to  a  lost  document,  published  by  Campori,  and  again  by 
Mazzini,  Benedetto  di  Giovanni  Buglioni  was  paid  on  Nov.  8,  1 508  seventy 
large  gold  ducats,  thirty-five  from  Ser  Giovanni  the  Podesta  of  Massa,  and 
thirty-five  from  Piero  de'Zanoli,  representative  of  the  Franciscan  broth- 
ers of  Massa.  The  payment  was  made  in  the  name  of  Alberico  Malaspina, 
marchese  of  Massa. 

The  subjects,  form,  and  present  whereabouts  of  these  altarpieces  are 
unknown.  Campori,  Milanesi,  and  others  declare  that  one  represented  a 
Nativity,  the  other  an  Epiphany,  but  the  fragments  of  a  Nativity  in  the 
Cappella  del  Sacramento  of  the  Cathedral  are  not  in  Buglioni's  style,  and 
the  Epiphany,  said  to  have  been  sold  in  1825  to  the  Abate  Gerini  and  by 
him  sold  out  of  Italy,  can  no  longer  be  traced. 

Document: — [Quoted  by  Ubaldo  Mazzini  from  Campori's  Memoriej 
287.] 

"Adi  8  di  novembre  1508  in  massa  del  marchese. 

lo  benedetto  de  giovanni  Buglioni  schultore  da  firenza  per  vighore  della 
presente  scrita  di  mia  mano  mi  chiamo  avere  auto  e  riceuto  anome  del  mag- 
nificho  signore  marchese  alberigho  signiore  di  massa  soprascrita  duchati 
settanta  d'oro  inoro  larghi  a  me  numerati  e  dati  parte  da  ser  giovanni  suo 
podesta  in  massa  cioe  duchati  trentacinque  e  altri  trentacinque  da  Piero  de 
Zanoli  prochuratore  de  ditti  (?)  frati  de  san  francescho  di  masa  in  firenza 
e  sono  per  intero  pagamento  di  dua  tavole  per  me  fatte  e  poste  in  opera  e 
finite  in  nella  chiesa  de  san  francescho  de  massa  per  me  finite  adi  et  ano 
soprascritto  et  per  fede  di  cio  o  scrito  la  presente  di  mia  propria  mano 
presente  iachopo  de  giovani  dipintore  fiorentino  e  di  franliesco  di  girolamo 
fattore  de  dicti  frati  ec." 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Buglioni;  Campori,  Mem,orie,  287  (Doc); 
Cr.,  253,  347;  Gerini,  Memorie,  I,  164;  Matteoni,  Guida,  19;  Mazzini, 
i-io,  (Doc.)  ;  Vas.,  II,  185  note. 

100  MADONNA  AND  CHILD.    Cleveland.    Museum  of  Art.     Photo.. 
Museum. 

Nudes  unglazed.  The  Madonna,  clad  in  a  maroon  tunic  with  yellow  col- 
lar and  cuffs,  a  mantle  of  blue  lined  green,  yellow  haloes,  white  scarf,  yel- 
low shoes,  holds  on  her  left  arm  the  nude  Child  (Fig.  66).  In  type  not 
unlike  the  Madonna  delle  Grazie  of  the  Frescobaldi  collection. 


88 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  66. — Madonxa  axd   Child,   Cleveland. 

Bibl. : 

Cat.  of  Museum,  opening-. 

101     SAME  SUBJECT.     Baltimore.     Collection  of  Mr.  Henry  Walters. 
Statuette.     H.,  0.76m.     Photo.,  Private. 

This  Madonna,  in  type  not  unlike  the  preceding,  stands  holding  on  her 
left  arm  the  nude  Child.  Glazed  light  green.  From  the  Don  Marcello 
Massarenti  Collection. 


Bibl. : 

M.,  D.  R.  A.,  168,  Fig.  72. 


1510-1520 


I5IO-I520 


102  (i)  CORONATION  OF  THE  VIRGIN.  1510.  (2)  COAT  OF 
ARMS  IN  THE  CHURCH.  1510.  Pistoia.  Ceppo  Hospital.  En- 
trance portal.    Lunette.    H.,  im. ;  W.,  2.05m.    Photo.,  Alinari,  10282. 

In  1878  Milanesi  stated  that  in  15 10  Benedetto  Buglioni  made  a  "Nostra 
Donna"  for  the  fagade  of  the  Ceppo  Hospital.  More  specific  are  the  docu- 
ments published  in  1904  by  Fabriczy  and  by  R.  G.  Mather  in  191 8,  which 
indicate  a  payment  made  to  Benedetto  Buglioni  in  Jan.  13,  15 10  for  an 
"Incoronazione"  set  "sopra  la  porta  dello  spedale  del  Ceppo  di  Pistoia." 
Over  the  entrance  portal  of  the  hospital  the  Coronation  of  the  Virgin  in 
every  detail  of  style  betrays  the  workmanship  of  Benedetto  Buglioni  (Fig. 
67).  The  subject  follows  the  precedent  set  by  the  hospital  of  Santa  Maria 
Nuova,  over  the  entrance  door  of  which  is  a  Coronation  attributed  to  Lor- 
enzo di  Bicci  or  Dello  Delli. 

God  the  Father,  seated  on  clouds,  with  long  hair  and  beard,  heavily 


Fig.  dj. — Coronation  of  the  Virgin,  Pistoia. 


92  BENEDETTO  AND  SANTI  BUGLIONI 

draped,  wearing  a  Papal  tiara  with  triple  yellow  crowns,  places  a  yellow 
crown  on  the  head  of  the  Madonna,  who  is  also  seated  and  robed  in  white, 
and  has  her  hands  crossed  on  her  breast.  Her  eyes  have  Buglioni's  char- 
acteristic hatched  eyebrows,  linear  upper  eyelid,  pupils  surrounded  by  a 
circle  leaving  the  iris  white.  Nine  cherub  heads,  triple  winged,  without 
haloes,  on  clouds  streaked  with  yellow  and  violet,  surround  the  divine 
couple. 

The  documents  (Nos.  4-5)  also  indicate  that  Benedetto  Buglioni  was 
paid  a  florin  for  a  stemma  of  the  hospital  placed  within  the  church. 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

I.  "Francesco  di  maso  di  papi  scarpellino  da  s.  martino  a  mensola 
si  alloga  collo  spedale  del  ceppo  di  pistoia  a  provvedere  tutta  la  pietra  ed 
a  fare  tutto  il  lavoro  sul  portico." 

[Milanesi,  Misc.,  32  III  P.,  c.  480,  makes  the  above  note  from  Archivio 
di  Stato,  Sesione  notarile,  Rogiti  di  Ser  Lorenso  Bellncci  di  Pistoia.  Pro- 
tocollo  del  1 5 12,  Feb.  24.] 

2.  c.  364  c.    ccclxiiij 

"Mdx  "Mdx 

Benedetto  di  giovanni  detto  betto  Benedetto  di  giovanni 

buglioni  de  dare  adj  iiij  di  giennaio  detto  betto  buglioni  di 

f  uno  largo  doro  porto  chontanti  sono  chontro  de  avere  adi 

per  chonto  di  una  nostra  donna  xj  di  maggio  1512  f  uno 

si  fa  per  sopra  la  porta  dello  spedale  largo  doro  sono  per 

dell  ceppo  di  pistoia  all  quaderno  tanti  dare  alibro 

C      ac.  113.  segnato  d  ac.  210    f  1-I-" 

a  uscita  segnato  C.  ac.  234       f  i-" 

[Archiv.  del  R.  Arcispedale  di  Santa  Maria  Niwva,  Lihro  Verde  (1508- 
I5i3)>  segnato  C  c.  364.] 

Milanesi,  Misc.  40  III  P  c.  367*  records  the  above  document  thus : 
"15 10.     Benedetto  di  Giovanni  detto  betto  buglioni  de  dare  adi  iiij  di 
gen.  fior.   uno  sono  p(er)   chonto  p(er)    una  nostra  donna  si   fa  p(er) 
sopra  la  porta  dello  spedale  del  ceppo  di  Pistoia." 

Fabriczy,  Riv.  d'Arte  II,  1904,  139,  published  it  as  follows: 

"15 10.  Benedetto  di  Giovanni  detto  betto  buglioni  de'  dare  adi  xiij  di 
genaio  fior.  uno-sono  per  chonto  di  una  nostra  donna  si  fa  sopra  la  porta 
dello  spedale  del  Ceppo  di  Pistoia." 

3.  "+  yhs  MDX 

Sabato  addj  4  di  genaio 
A  betto  brrugljonj  ischultore  f  uno  ch°( chontanti)  jn(or)o 


BENEDETTO  AND  SANTI  BUGLIONI  93 

al  q*^"  (quadernucio)  detto  (chassa  s*°    C)  CI13  alibro  verde  s*°  C  c.  364 

fi    1-S-" 

[Archiv.  idem,  Uscita,  Segnato  C.  1508-15 10  c.  234.] 

4.  "+  MDX 

Benedetto  dj  giovannj  di  bernardo  dantonio  ischu(l)tore 

avere 

E  avere  adj  ii  dj  maggio  1512  f.  iiij  doro  in  oro  per  j  archo  dj  una  cho- 
ronazione  et  una  arme  p(er)  pistoia  a  g^  s*°  d  c.  210  f  4  1-  p-" 

[Archiv.  idem,  Libro  Fitti  e  Livelli  B.,  15 10-1520,  c.  12.] 

5.  "MDXII 

Martedi  adj  xj  di  maggio 
Benedetto  dj  Giovannj  bu(g)lione  iscu(l)tore  avere  p(er)  uno 
archo  sopra  alaporta  dj  lospedale  dj  pistoia  cheve(che  v'e) 
una  jncoronazione  f  4  doro  inoro  isp^  (ispedale)  dare  quvj 
disotto  f  4  1- 

Et  avere  p(er)  una  arme  p(er)  detto  ispedale  inchiesa 
f  uno  doro  inoro  posto  isp"  dare  qui  disotto  f  j  1- 

Anne  auto  f  uno  doro  inoro  p(er)  tanti  avere  a  libro  Verede 
S"  C  c  364  f  j  1- 

Anne  auto  f  iiij  doro  ^inoro  p(er)  tanti  avere  alibro  di  pigione 

e  fitj   B   c   12 f  4  1- 

Spedale  dlceppo  dj  pistoia  adare  chome  apare 
alibro  copie  s*°  d  f  5  p(er)  le  le(sic)  chose  disopra  dette" 
[Archiv.  idem,  Giornale  D.  1512-1513  c.  210.] 

6.  "+  MDXIJ  partite         partite  anno 

Spedale  dj  santa  maria  nuova  dj  firenze      abbiamo      abbiamo       loro  et  noj 
avere  dallo  spedale  di  santa  maria  noj  et  loro  noj  et  loro 

dlceppo  dj  pistoia  chome  apare  di  la 
al  di  rimpetto 


Et  dj  II  dj  Maggio  1512  135  p(iccioli) 
p(er)  uno  a' chale(archale)  suvj(suvvi)  una 
inchoronazione  sopra  alaporta  dello 
isp*  et  una  arme  aute  da  benedetto 
bulionj  al  nostro  g   s*"  d  c-  et  aloro 

libro  m  c 1  35-  1-  1-'' 

[Arch,  idem,  Libro  Copie  e  Conti,  D.  1 512-15 18  c.  3.] 


94  BENEDETTO  AND  SANTI  BUGLIONI 

7.  "+  YHS    MDXJ 

Spedale  di  santa  maria  nuova  di  firenze  avere  addj  xj  di  luglio  . 


E  de  avere  insino  addj  26  daprile  15 12 


E  deono  avere  1  trentacinque  piccioli  per  resto  di 

una  inchorazione  di  terra  chotta  e  una  arme  di  ceppo  paghati  p(er)   noi 

a  betto  buglionj  al  giornale  c.  164  in  questo  .  .  .234 1  35 

[Archiv.  del  R.  Ospedale  del  Ceppo,  Libro  del  Provveditore  M.,  151 1- 
1512,  c.  cl.] 

Bibl.: 

Bacci,  Riv.  d'Arte,  II  (1904)  50-51;  B.,  Kf.,  21 ;  Bombe,  B-Th.  Lex., 
s.v.  Buglioni;  Burckh.,  II,  436;  C-M,  144,  243  No.  234;  Contrucci, 
280;  Cr.,  251-252;  Fabriczy,  Riv.  d'Arte,  II  (1904),  139  (Doc); 
Giglioli,  94;  M.,  Sc.  Mag.,  1893,  683,  690;  Brickhidlder,  II  (1902) 
222',  A.  J.  A.,  XXII  (1918),  361-377  (Doc.)  ;  Mazzini,  3-4;  R.  G.  M. ; 
UArte,  XXI  (1918),  193-194  (Doc);  Melani,  A.  e  S.,  XXII 
(1903)  lo-ii;  Natura  e  Arte,  1903,  June  15,  81-88;  R.,  D.  R.,  235, 
262;  Sc.  Fl.,  IV,  55,  64;  S.,  148,  Abb.  171;  Tolomei,  Guida,  83;  Vas., 
II,  185  note;  IV  88  note. 

103  CORONATION  OF  THE  VIRGIN  WITH  VARIOUS  SAINTS. 
Florence.  Chiesa  d'Ognissanti.  Over  entrance  portal.  Lunette.  H., 
2.02m;  W.,  2.94m.  Photos.,  Alinari,  2303;  Brogi,  4682;  Cast,  Lelli, 
1134-1136. 

This  relief  appears  to  have  been  modified  by  the  addition  of  an  outer 
row  of  blue  tiles  so  as  to  fit  into  the  architectural  frame.  Possibly,  like 
the  Resurrection  relief  at  Pistoia,  it  had  originally  a  terra-cotta  frame 
of  its  own,  broken  into  by  the  lower  portion  of  the  composition,  and  for 
practical  reasons  in  this  case  discarded. 

Like  the  Coronation  at  Pistoia  God  the  Father  is  represented  draped  in 
white,  wearing  a  triplex  crowned  tiara,  placing  a  yellow  crown  on  the 
Madonna's  head  (Fig.  68).  Both  are  seated  on  clouds  streaked  yellow 
and  green,  from  which  appear  cherub  heads  some  with,  some  without,  a 
nimbus.  To  the  left  and  right  are  musical  angels  with  lutes,  tambourines, 
pipes  and  trumpets.  Below  are  half  figures  of  S.  Benedetto,  S.  Ansano 
(?),  S.  Giovanni  Battista,  S.  Pietro,  S.  Gregorio,  S.  Agostino  and  S.  Lucia. 
Figures  white,  minor  details  yellow.     Buglioni  eyes. 


BENEDETTO  AND  SANTI  BUGLIONI 


95 


Bibl. 


B-J.,  9;  B.,  Kf.,  23;  A.  S.  A.,  II  (1889),  2;  Burl.,  Frontispiece,  54, 
108;  Carocci,  ///.  Fior.,  1912;  141-143;  C-M.,  117;  211  No.  37;  Cr., 
252,  341;  M.,  Sc.  Mag.,  1893,  690;  R.,  D.  R.,  233-235;  IV,  55-56; 
Richa,  IV,  264;  S.,  149;  Vas.,  II,  192. 


Fig.  68. — Coronation  and  Saints,  Ognissantj. 

104     S.  ROMOLO  AND  HIS  COMPANIONS.   Fiesole.   Duomo.   Crypt 
(formerly).     Statuettes.     Photo.,  Brogi,  9858-9860. 

Milanesi,  in  his  notes  to  Vasari's  mentions  five  statuettes  as  formerly  in 
the  crypt  of  the  Fiesole  Cathedral.  Three  of  these  have  been  photographed 
by  Brogi.  One  represents  S.  Romolo,  enthroned,  blessing  (Fig.  69) ;  two 
others  portray  youthful  saints. 

They  are  not  far  removed  in  style  and  period  from  the  Ognissanti 
lunette.     Polychromatic;  face  of  S.  Romolo  not  glazed. 

Bibl. : 

Carocci,  I,  134;  C-M.,  232  No.  173  note  i.   Vas.,  II,  193-194. 


105  (i)  S.  AGNESE,  (2)  S.  MARIA  EGIZIACA,  (3)  A  PEASANT 
WORSHIPPER.  Fiesole.  S.  Ansano.  Three  Statuettes,  c.  0.90m. 
Photos.,  Brogi,  9834,  9833. 


96 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  69. — S.  RoMOLO,  Fiesole. 


(i)   S.  Agnese,  robed  in  maroon  edged  yellow,  and  a  mantle  of  blue 
lined  green,  holds  a  white  lamb,  a  book  and  a  martyr's  palm  (Fig.  70). 

(2)  S.  Maria  Egiziaca  is  covered  by  long  brown  hair. 

(3)  A  peasant,  robed  in  a  blouse  of  blue  and  mantle  of  green  lined 
maroon,  stands  in  the  attitude  of  worship. 


Bibl. 


Carocci,  I,  118;  C-M.,  250  No.  282;  Cr.,  344. 


Fig.  70. — S.  Agxese,  Fiesole.  Fig.  71. — S.    Giovanni    Battista,    Pescia 


BENEDETTO  AND  SANTI  BUGLIONI  97 

106  S.  GIOVANNI  BATTISTA.  Pescia.  Library  of  Duomo.  Statu- 
ette.    Photo.,  Private, 

This  statuette  (Fig.  71)  is  not  unHke  the  S.  Giovanni  Battista  in  the 
Ognissanti  lunette.  It  was  formerly  in  the  Duomo,  where  it  has  been  re- 
placed by  a  marble  copy  in  connection  with  a  marble  font. 

Bibl. : 

Burl.,  71. 

107  S.  SEBASTIANO.  Chicago.  Collection  of  Mrs.  Chauncey  F. 
Blair.    Round-headed  relief .    H.,  i.iom. ;  W.,  o.6im.    Photo.,  Private. 

S.  Sebastiano  wears  a  blue  loin  cloth  and  stands  in  a  green  meadow,  his 
arms  bound  to  a  tree  of  which  only  the  lower  trunk  is  visible. 
Possibly  to  be  classed  with  the  works  of  Benedetto  Buglioni. 

108  THE  TRINITY.  S.  Flora.  Convento  di  SS.  Trinita.  Round- 
headed  altarpiece.    Photo.,  Alinari,  9281. 

God  the  Father,  wearing  a  triple  crowned  tiara,  clad  in  maroon  up- 
holds a  yellow  cross  above  which  is  the  Holy  Dove  and  on  which  is  Christ 
crucified  (Fig.  72).  Two  cherub  heads  support  the  clouds  on  which  God 
Father  is  seated  while  sixteen  more  (of  two  only  the  haloes  are  seen  behind 
the  cross)  are  arranged  as  a  mandorla. 

The  predella  shows  insignia  now  almost  obliterated,  and  between  plain 
pilasters:  (i)  S.  Francesco  receiving  stigmata;  (2)  Christ  in  the  sepulchre 
supported  by  his  mother  and  S.  Giovanni;  and  (3)  S.  Girolamo  in  the  des- 
ert. The  frame  shows  pendent  garlands  of  fruit,  flowers,  and  wheat  in 
triplex  bunches,  set  between  an  inner  cord  and  outer  egg  and  dart  mould- 
ing. 

Bibl. : 

Cr.,  354;  S.,  140  Abb.  151. 

109  CHRIST  CRUCIFIED  AND  SAINTS.  Gavinana.  S.  Maria  del 
Assunta.  Round-headed  altarpiece.  H.,  2.3m.;  W.,  1.83m.  Photo., 
Private. 

Some  years  ago  I  cited  the  altarpieces  at  Gavinana  (Fig.  73)  as  to  be 
classed  with  Santi  Buglioni's  lost  altarpieces  at  Croce  all'Alpe,  but  am  now 
inclined  to  put  them  at  an  earlier  period  when  Benedetto  Buglioni  was  the 


98 


BENEDETTO  AND  SANTI  BUGLIONI 


master  of  the  atelier.  The  Christ  crucified  (paint  over  the  glaze)  is  almost 
a  replica  of  the  one  at  S.  Flora.  The  cross  is  yellow  and  grained  in  faint 
imitation  of  wood.  At  the  top  is  a  scroll  inscribed  I.  N.  R.  I. ;  the  sun  with 
greenish  face  and  yellow  serpentine  rays,   and  the  moon  with  bluish  face  set 


Fig.  72. — The  Trinity,  S.  Fiora. 


in  a  crescent  with  rectilinear  rays.  Two  flying  angels,  one  holding  a 
chalice,  are  at  his  side.  At  the  foot  of  the  cross  is  a  greenish  skull  and 
cross  bones  on  a  stratified  hill,  Golgotha.  To  the  left,  on  a  white  horse  is 
S.  Martino  offering  his  cloak  to  a  poor  man,  and  a  kneeling  S.  Niccolo,  in 
white  with  cloak  of  blue  lined  green,  a  blue  book  and  three  golden  balls  on 
a  book  at  his  feet.  To  the  right  kneels  S.  Gregorio,  with  papal  tiara,  robed 
in  white  with  pluvial  of  green  lined  lilac,  a  dove  at  his  ear;  standing  is 


BENEDETTO  AND  SANTI  BUGLIONI 


99 


S.  Michele  in  blue  armour  trimmed  with  yellow,  and  cloak  of  lilac  lined 
green,  holding  a  sword  and  scales.     Flesh  unglazed. 


Fig.  73. — Christ  Crucified  and  Saints,  Gavinana. 

The  frame  shows  pendent  garlands  of  fruit,  flowers,  and  wheat,  ar- 
ranged in  triplex  bunches  separated  by  bouquet  holders,  as  in  the  Trinity 
altarpiece  at  S.  Flora,  and  set  between  cord  and  egg  and  dart  mouldings, 

Bibl: 

Bombe,  B-Th.,  Lex.,  s.v.  Santi  Buglioni;  Burl.,  67,  114;  M.  &  W. 
Drake,  s.v.  Nicholas  of  Myra;  Fabriczy,  Riv.  d'Arte,  II  (1904),  142; 
Gerspach,  Rass.  d'Arte,  V  (1905),  94;  M.,  Sc.  Mag.,  1893,  688;  U. 
Rossi,  A.  S.  A.,  VI  (1893),  10,  Note  9. 

110  SAINTS  ABOUT  A  CIBORIO.  Gavinana.  S.  Maria  del  As- 
sunta.  Round-headed  altarpiece.  H.,  2.06m.;  W.,  1.70m.  Photo., 
Private. 


In  the  centre  of  the  Altarpiece  (Fig.  74)  is  represented  a  free-standing 
Ciborio  set  on  a  polygonal  base,  adorned  below  with  large  acanthus  leaves, 


lOO 


BENEDETTO  AND  SANTI  BUGLIONI 


in  the  middle  with  rehefs  of  S.  Pietro,  the  Resurrection,  and  S.  Paolo, 
above  with  a  polygonal  dome  ornamented  with  scales  and  bearing  a  small 
cupola  surmounted  by  a  cross.  About  it  are  angels  with  polychromatic 
wings,  bearing  the  emblems  of  the  passion,  nails,  crown  of  thorns,  spear, 
sponge.  To  the  left  stand  S.  Giovanni  Battista  in  hair  cloth,  with  a  scroll 
inscribed:  AGITE  PENIT(ENTIAM),  and  a  young  saint  (Martino?) 
holding  a  book  and  a  sword,  while  in  the  foreground  kneels  S.  Antonio 
Abate  in  black  habit,  holding  a  crutch,  a  blue  book,  and  a  yellow  bell,  a 


Fig.  74. — Saints  about  a  Ciborio.     Gavinana. 


black  pig  at  his  feet  (Fig.  75).  To  the  right  stand  a  young  saint  (Tom- 
maso?)  with  a  staff,  a  middle  aged  saint  or  Apostle  (Jacopo?)  with  a  book 
and  short  sword,  while  kneeling  in  the  foreground  is  a  saint  holding  a 
book  and  a  bunch  of  chestnuts.  Portions  of  this  altarpiece  were  stolen,  but 
in  191 1  returned  from  Paris  to  the  Tribunale  at  Pistoia. 

The  frame  is  similar  in  style  to  the  preceding,  but  with  cherub  head  at 
the  top.  It  was  very  badly  set  together.  Portions  of  the  central  relief  had 
been  removed  or  stolen,  when  photograph  No.  74  was  made. 

Bibl. : 

Same  as  the  preceding,  also  L'Arte,  XIII  (1911),  480. 


BENEDETTO  AND  SANTI  BUGLIONI 


::xo$. 


Fig.  75. — Portion  of  the   Preceding. 

Ill     CRUCIFIX.    Florence.    S.  Miniato.    Over  the  High  Altar.     Statue 
H.,  c.  1.50m.     Photo.,  Alinari,  3364b. 

The  Christ,  with  lavender  gray  loin  cloth,  is  nailed  to  a  yellow  cross 
(Fig.  76).  Damaged.  To  be  classed  with  the  works  of  Benedetto  Bugli- 
oni  rather  than  with  those  of  Luca  della  Robbia  to  whom  it  has  been  as- 
signed. 

Bibl. : 

Burl.,  29-30,   117;  Burckh.     C-M.,  251   No.  295;  Cr.,  91,  341;  R., 
D.  R.,  43-45 ;  Sc.  FL,  II,  195. 


112     MADONNA  ADORED  BY  TWO  MONKS.     Florence.     S.  Mini- 
ato al  Monte.    Entrance  portal,  inner  side. 

On  the  inner  side  of  the  portal  of  the  enclosure  of  S.  Miniato  was  for- 
merly a  lunette  representing  the  Madonna  adored  by  two  monks,  cowled 
and  holding  incense  carriers.    White  figures  on  blue. 

Bibl. : 
B.J.,  67. 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  76. — Crucifix,  S.  Miniato. 

113  BAPTISM  OF  CHRIST.  Castiglione  Fiorentino.  Battistero 
Vecchio.  Altarpiece,  round-headed.  H.,  1.57m. ;  W.,  0.96m.  Photo., 
Private. 

Christ  stands  with  folded  hands  in  the  Jordan  (Fig.  yy)  being  baptized 
by  S.  Giovanni  Battista,  who  is  clad  in  hair  cloth  and  mantle.  Rocky  back- 
ground with  trees.     Holy  Dove  in  the  blue  sky. 

Frame,  cherub  heads  on  clouds,  egg  and  dart  moulding. 

Predella  upside  down. 

Bibl. : 

Cr.,  336;  Mancini,  Cortona,  163-164. 


114  ASSUMPTION  OF  THE  MADONNA.  S.  Casciano.  S.  Maria  a 
Casavecchia.  Altarpiece.  Photo.,  Alinari,  10087.  Cast,  Cantagalli, 
447. 


BENEDETTO  AND  SANTI  BUGLIONI 


103 


Fig.  ^^. — Baptism  of  Christ, 
Castiglione  Fiorentino. 

The  Madonna,  robed  in  lilac  with  mantle  of  blue  lined  green,  is  seated 
on  clouds  in  a  mandorla  upheld  by  six  angels  (Fig.  78).  A  cherub  head 
above  and  below  the  mandorla.  On  the  ground  is  a  sarcophagus  mottled 
violet  in  imitation  of  porphyry  or  marble,  from  which  rise  lilies  and  roses. 
On  the  face  of  the  sarcophagus  is  a  sportello  on  either  side  of  which  kneels 
an  adoring  angel. 

The  predella  shows  at  each  end  the  stemma  of  the  Casavecchia  family : 
Azure,  three  lilies  2  and  i  or.  Three  reliefs,  separated  by  balusters,  repre- 
sent: (i)  the  Baptism  of  Christ;  (2)  Christ  in  the  sepulchre  upheld  by  his 
mother  and  S.  Giovanni;  and  (3)  the  martyrdom  of  S.  Lorenzo.  Frame 
shows  between  rope  and  t^'g  and  dart  mouldings  pendent  garlands  of  fruit, 
flowers,  and  wheat  in  bunches  composed  usually  of  3  fruits,  3  white  flow- 
ers and  4  spears  of  wheat. 


Bibl.: 

Burl.,  117;  Carocci,  S.  Casciano,  62;  C-M.,  254  No.  316;  Cr.,  354; 
M.,  R.  H.,  144,  Fig.  136;  R.,  D.  R.,  245;  Sc.  Fl,  IV,  59- 

115     STEMMA  OF  THE  CASAVECCHIA  FAMILY.    S.  Casciano,  S. 
Maria  a  Casavecchia. 

In  the  atrium  of  the  Canonica  is  a  medallion  bearing  the  Casavecchia  coat 


I04 


BENEDETTO  AND  SANTI  BUGLIONI 


I 


.t/  iriai%«ii:  k't 


Fig.  75. — Assumption  ok  the  AIadoxxa,   S.   lasciaxo. 

of  arms :   Azure,  three  lilies  2  and  i  or.    Framed  by  ^  wreath  of  fruit  and 
flowers. 

Bibl. : 

Carocci,  S.  Casciano,  62;  C-M.,  254  No.  316;  Cr.,  354;  M.,  R.H.,  144. 

116     FRAME  FOR  A  NICHE.    S.  Casciano.     S.  Giovanni  in  Sugana. 


Within  a  niche  is  a  plaster  statuette  of  S.  Giovanni  Battista.    The  frame 


BENEDETTO  AND  SANTI  BUGLIONI 


105 


of  the  niche  exhibits  a  fruit  garland  between  an  inner  cord  and  outer  egg 
and  dart  moulding. 

Bibl. : 

Burl.,  117;  Carocci,  5.  Casciano,  158;  C-M.,  251  No.  286;  Cr.,  354, 


117  ASSUMPTION  OF  THE  MADONNA  WITH  SAINTS.  Barga. 
Chiesa  delle  Monache  di  S.  Elisabetta.  Round-headed  altarpiece.  H., 
3.20m. ;  W.,  2.40m.     Photo.,  Alinari,  8372. 

Partially  glazed,  with  nudes  of  principal  figures  superficially  painted. 
The  Madonna,  robed  in  gold  and  a  decorated  mantle  of  white  lined  blue, 
holding  her  cintola,  is  seated  on  clouds  in  a  mandorla  supported  by  six 


Fig.  79. — The  Assumption  with  Saints,  Barga. 


io6  BENEDETTO  AND  SANTI  BUGLIONI 

angels  with  polychromatic  wings  (Fig.  79).  A  cherub  head  is  at  base  of 
Mandorla;  the  clouds  are  streaked  yellow. 

Below  is  the  sarcophagus  with  narrow  end  toward  spectator,  maroon 
edged  yellow,  full  of  lilies.  To  the  left  kneels  S.  Tommaso,  robed  in  green 
with  mantle  of  blue  lined  maroon;  behind  him  stands  S.  Giovanni  Bat- 
tista  in  hair  cloth  holding  a  cross,  and  S.  Chiara  in  nun's  costume  holding 
a  book.  To  the  right  kneels  S.  Francesco  in  gray ;  behind  him  are  S.  An- 
tonio of  Padua,  also  in  gray,  holding  a  blue  book  and  white  flame,  and 
S.  Michele,  in  white  armour  trimmed  yellow  and  mantle  of  blue  lined  green. 

The  frame  shows  between  rope  and  egg  and  dart  mouldings  twenty-three 
cherub  heads  above  clouds  against  blue,  and  an  outer  pendent  garland  ir- 
regularly composed  of  fruit,  flowers,  and  wheat.  At  the  apex  is  a  disk 
containing  the  Monogram  of  Jesus  (not  seen  in  the  illustration). 

The  predella  is  divided  by  pilasters  decorated  with  grotteschi  into  panels : 
(i)  S.  Girolamo  in  the  desert;  (2)  La  Maddalena;  (3)  Christ  in  sepulchre; 
(4)  S.  Chiara,  holding  a  lily;  and  (5)  a  male  saint  in  monastic  costume. 

Bibl.: 

Burl.,  112;  C-M.,  227  No.  135;  Cr.,  327;  R.,  D.  R.,  245;  Sc.  FL,  IV, 
59- 

118  MADONNA  AND  CHILD.    BARGA.    Chiesa  delle  Monache.    At- 
rium of  Chapel.     Medallion.     Diam.,  0.42m. 

In  the  atrium  of  the  chapel  of  the  convent  of  the  Monache  is  a  medallion 
of  the  Madonna  and  Child  in  a  frame  of  fruit  and  flowers. 

Bibl.: 

Burl.,  112;  C-M.,  227  No.  134. 

119  STEMMA  OF  GIOVANNI  MORI.     151 1.     Sesto,  Palazzo  Pre- 
torio.     Photo.,  Private. 

On  a  white  frame  against  a  light  green  background  is  set  a  beribboned 
kite-shaped  shield  (Fig.  80)  bearing  the  Mori  arms:  chequy  sable  and 
argent. 

On  the  broad  base  below  is  inscribed : 
GIOVANNI  A  DIB 
ARTHOLO  A  MO 
RI  A  P(ODEST)A  A  M  A  DXI 

Bibl. :  ^ 

Carocci,  I,  312;  C-M.,  248  No.  268;  C,  s.v.  Mori-Ubaldini ;  Cr.  355  ,• 
M.,  R.  H.,  190-191,  Fig.  179. 


BENEDETTO  AND  SANTI  BUGLIONI 


107 


Fig.  80. — Stemma  of  Giovanni  Mori. 

120     STEMMA  OF  PANDOLFO  RICASOLI.     1512.     Anghiari,  Pa- 
lazzo Comunale.     Photo.,  Private. 


Within  a  wreath  of  triplex  bunches  of  fruit  and  flowers  separated  by 
fluttering  ribbons  on  a  white  background,  bordered  by  fillet  mouldings,  set 
against  a  flat  violet  disk,  is  a  kite-shaped  shield  (Fig.  81),  bearing  the 
Ricasoli  arms:  Or,  three  pallets  gules  surmounted  by  as  many  bars  azure; 
in  chief  a  plate  with  a  Croce  del  Popolo. 


Fig.  81. — Stemma  of  Pandolfo  Ricasoli. 


io8 


BENEDETTO  AND  SANTI  BUGLIONI 


Below  is  a  cherub  supporting  a  tabella  ansata  inscribed : 

PANDOLPHO 

DI  PIER  GIOVANNI 

DE  RICASOLI 

V(ICARI)OET-C(OMMISSARI)0     M-DXII 
The  Ricasoli  family  held  many  high  offices  in  Florence  and  elsewhere. 

Bibl. : 

C,  s.v.  Ricasoli;  M.,  R.  H.,  201-202,  Fig.  188;  W.,  167. 

121     S.  MICHELE  AND  THE  DRAGON.  Castiglione  Fiorentino,  Pieve 
Vecchia.     Medallion.     Diam.,  0.915m.     Photo.,  Private. 

This  medallion  (Fig.  82),  served  as  a  stemma  for  the  Pieve,  which  was 
dedicated  to  S.  Michele.  S.  Michele,  in  white  tunic  with  blue  collar,  yellow 
ribbons  across  his  breast,  maroon  wings,  holds  an  apple  in  his  right  hand 
and  with  a  spear  in  his  left  transfixes  a  green  dragon.    Framed  in  a  wreath 


1,AC.H0MVN!'[7\ 
,^^  DICASTIGLK 
.j^-FIORUNTlNfc  5:, 

.*^.TT7\-av 

JSBi 


Fig.  82. — S.  Michele,  Castiglione  Fiorentino. 


BENEDETTO  AND  SANTI  BUGLIONI 


109 


of  heavy  triplex  bunches  of  fruit  and  flowers  surrounded  by  a  white  egg 
and  dart  moulding.     A  tablet  below  is  inscribed: 

LA  CHOMVNITA 

DI  CASTIGLIONI 

FIORENTINO   •   A  FA 

TTA  •  QVESTA  CHIESA 

Bibl. : 

Mancini,  Cortona,  163-164. 


122  MADONNA  AND  CHILD  SEATED  ON  CLOUDS.  Florence, 
Museo  Nazionale,  No.  i.  Photos.,  Alinari,  3719;  Brogi,  4745.  Cast 
by  Lelli,  No.  476. 

The  Madonna  seated  on  clouds  supported  by  cherubs  holds  to  right  the 
partially  draped  Child  (Fig,  83).    White  figures  on  yellow  and  black  clouds 


Fig.  83. — Madonna   Seated   on   Clouds. 


no  BENEDETTO  AND  SANTI  BUGLIONI 

against  a  blue  mandorla.     Below  is  a  Tuscan  shield  bearing  indeterminate 
arms :   Two  lions  supporting  a  quartered  disk. 

Bibl. : 

Burl.,  109;  C-M.,  107,  221   No.  95;  Cr.,  337;  Rossi,  A.  S.  A.,  VI 
(1893)   10;  Supino,  436  No.  I. 

123     TABLET.     H.,  0.58m.;  W.,  0.455m.     New  York  City.     Bardini 
Sale  of  1918,  No.  359. 

White  tablet  inscribed   D(OMINO)      PET(RO)      M(  ).     The 

tablet  is  surmounted  by  a  bow  of  blue  ribbon,  green  leaves  and  violet  shell. 
Below  is  a  cherub  head  and  a  festoon  of  polychromatic  fruit  (Fig.  84). 

Bibl. : 

Bardini  Sale  of  1918.    Cat.,  No.  359. 


Fig.  84. — Tablet. 
124     STEMMA  OF  LEO  X.     1513.    Florence.     S.  Lorenzo  (formerly). 

In  preparation  for  the  triumphal  entry  of  Leo  X  into  Florence  Bene- 
detto Buglioni  was  commissioned  to  make  a  large  coat  of  arms  of  the 
Pope.  It  was  made  of  wood,  painted.  The  details  of  the  expenses  are 
preserved  in  a  document  discovered  by  Milanesi.     This  large  stemma  was 


BENEDETTO  AND  SANTI  BUGLIONI 


III 


completed  and  located  on  the  fagade  of  S.  Lorenzo  by  March  14,  15 13 
(1512  Florentine  style),  although  the  triumphal  entry  of  Leo  into  Flor- 
ence did  not  occur  until  Nov.  30  or  Dec.  13,  15 15. 

Document: — [Copied  by  Mr.  Rufus  G.  Mather.] 


"  +  1 5 12  +   (Florentine  style) 
Preparazione    spese  minute  e  extraordinarie  sesruitono 

p(er)  la  venuta 

di  Leone  X.       Et  adi  14  di  marzo  a  b(e)n(e)d(i)c(t)o  buglionj  p(er) 

fare  I'arme  di  p(a)p(a)  leone  grade  come  si  vede 

nella  facia  della  chiesa  p(er)  le  ifrascripte 

cose  1  novata  quattro  sol.  dua  p(iccio)li  cioe 

p(er)  518  pezi  d'oro  fino  1  20  s  7  p(er)  arieto 

fino  1  I  p(er)  stagno  biacho  et  giallo 

1  tre  p(er)  il  tondo  delasse  di  Yz  (di  mezzo)  et 
agnoli  et  bracie(  ?)  a  ghilloro  lignaiolo  1  21  al 
gatto  et  copagni  dellop(er)a  che  apichorno  I'arme  1  3.3  p(er) 

varij  colori  azurro  et  lacha  1  10.6 
a  cinq(ue)  maestri  dipintorj  p(er)  fare  9  p(re)sta(n)ze  1  14 

p(er)  fare  le  spese  tre  di  a  d(e)c(t)i  1  6.6  p(er)  cadele 

disono  bandella  hauti  et  gesso  1  sej 
a  betto  buglioni  p(er)  la  sua  fatica  et  a  Marco 

suo  garzone  1  otto  in  tutto 1  94  s  2  dj" 

(Erased  and  changed  to  1  84,  s  2  dj) 
[Archivio   del   Rev.*"   Capitolo  di   San   Lorenzo,   Giornale 
della  Sagrestia,  1506-1521,  segnato  A,  c.  261;  Milanesi,  Misc. 
21  III  p.,  c.  412.] 


Tarai   di 
dca  soma 
1  died  pli 
che  mota  i 
tutto  1  84.2 


Bibl. : 

R.  G.  M.,  L'Arte,  XXII  (1919),  247  (Doc). 

125     STEMMA  OF  THE  OSPEDALE  DEL  CEPPO.     1515.     Pistoia, 
Ospedale  del  Ceppo.     Photo.,  Private. 


On  the  short  side  of  the  loggia  to  the  right,  beyond  two  pilasters,  is  now 
set  a  medallion  containing  the  Ceppo  Hospital  coat  of  arms  (Fig.  85).  This 
seems  to  be  the  "una  arme  di  detto  spedale  di  terracotta  invetriata"  for 
which  Benedetto  di  Giovanni  (Buglioni)  was  paid  two  large  golden  florins 
on  March  26,  15 15 — not  to  be  identified  with  the  coat  of  arms  within  the 
church  for  which  he  was  paid  one  florin  on  Jan.  4,  15 10.  In  the  centre  is 
a  group  of  olive  stumps,  three  of  which  are  sprouting,  all  tinctured  in 
natural  colours.     The  field,  or  background,  which  is  an  essential  element 


112  BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  85. — Stemma  of  the  Ceppo  Hospital,  Pistoia. 

in  true  coats  of  arms,  is  here  an  indifferent  matter.  In  this  case  it  is  blue 
and  there  is  no  shield ;  at  the  angles  of  the  fagade  the  two  Sirens  bear  the 
Ceppo  Hospital  insignia  set  on  a  yellow  shield;  in  the  two  half  medallions 
where  the  Ceppo  and  S.  Maria  Nuova  insignia  are  displayed  together,  the 
Ceppo  olive  stumps  are  painted  against  a  white  background.  Around  the 
central  medallion  is  a  band  chequey,  argent  and  gules,  the  insignia  of  the 
City  of  Pistoia. 

The  frame  shows  between  an  inner  cord  and  outer  egg  and  dart  mould- 
ing a  garland  of  polychromatic  fruit  arranged  in  groups  of  three  bound  by 
small  ribbons.  The  bunches  of  fruit  are  alternately  light  and  dark  in 
colour,  like  Andrea  della  Robbia's  garlands,  but  have  different  kinds  of 
fruit  in  the  same  bunch.  Flowers  and  wheat,  which  usually  occur  in  Bug- 
lioni's  garlands,  are  lacking  in  this  case. 

This  medallion  may  have  been  intended  for  one  of  the  spandrels  of  the 
fagade,  or  for  some  other  location  in  the  hospital,  but  was  discarded  in 
favour  of  a  complete  series  of  medallions  all  designed  by  Giovanni  della 
Robbia. 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 


BENEDETTO  AND  SANTI  BUGLIONI  113 

I.  "  MDX 

Benedetto  di  Giovanni  di  bernardo  dantorio  schultore 


E  addi  26  di  marzo  151 5  f  cinque  doro  ioro  l(arghi) 
per  tanti  abbj  a(ver)e  al  g"  E  c.  156.     Sono  per  piu 
lavori  fattocj  di  terra  chotta  chome  quivi  (i.e.  Pistoia)  si 
mostra.    E  addi  xxx  daprile  f.  dua  doro  r(ech)o  luj 
chontanti  a  Libro  maestro  C,  c.  128 —  f  2  1  — " 

[Arch,  del  R.  Arcispedale  di  S.  Maria  Nuova,  Libro  Fitti  e  Livelli  B., 
1510-1520,  c.  12.] 

2.  "  MDXIIIJ 

spedale  di  s"  m"  dell  ceppo  di  pistoia  de  dare 


151 5.     e  de  dare  adi  xxvj  detto  (marzo)  15 15  f  dua 
l(arghi)  doro  ioro  facianno  buonj  p(er)  luj  a  benedetto 
di  giovannj  ischultore  a(ver)e  all(ibro)  g"  E  c.  156  e 
sono  p(er)  una  arme  di  detto  ispedale  di  terra  chotta 
invetriata  —  f  2  1  - 

[Arch,  idem.,  Libro  Azzuro  E,  15 13-15 16  c.  117;  also  Milanesi,  Misc. 
32  P.,  c.  480.] 

3.  "  +  yhs  Mdxvj 

Spedale  di  Santa  Marja  nuova 
di  firenze  de  a(ver)e  sino  adi  6 

daprile  15 14 

e  adj  3  di  f ebraio  1 5 1 5 

e  de  a(ver)e  1  q(u)atordicj  p(er)  noj 

a  betto  buglionj  p(er)  una 

arma  che  (ch'e)  nelospedale 

riparazione  i  q''(questo)  c.  176  1  14  s -" 

[Archiv.  del  Ceppo,  Libro  del  Provveditore  Q  15 15-15 16  a  c.  clxxxx.] 

Bibl. : 

M.,  A.  J.  A.,  XXII  (1918),  363-377  (Doc.)  ;  R.  H.,  215-216  Fig.  198; 
R.  G.  M.,  L'Arte,  XXII  (1918),  193-194  (Doc). 

126     FRAME.     Florence.    Barbieri  Nini  Collection. 

In  type  similar  to  that  of  the  Ceppo  Hospital  stemma. 


114 


BENEDETTO  AND  SANTI  BUGLIONI 


127     STEMMA  OF  FILIPPO  LORINI.    c.  1515.    Pescia,  Via  Benedet- 
tini-Cairoli,  22.     Photo.,  Private. 

Within  a  wreath,  composed  of  triplex  bunches  of  fruit  interspersed  with 
a  few  flowers,  separated  by  double  narrow  ribbons,  framed  on  its  inner 
edge  by  a  rope  moulding,  there  is  set  against  a  fluted  disk  a  Tuscan 
shield  (Fig.  86)  bearing  the  Lorini  arms:  Azure,  a  mount  of  six  summits 


Fig.  86. — Stemma  of  Filippo  Lorini. 

or,  from  which  spring  two  branches  vert  with  four  roses  argent;  in  chief 
a  label  of  France  gules  with  three  fleurs-de-lys  or.  The  style  of  the  wreath 
indicates  a  date  about  15 15. 

Filippo  d' Antonio  di  Giovanni  di  Filippo  Lorini  held  the  office  of 
Vicario  at  Pescia  in  1493.  He  was  decorated  by  King  Louis  of  France, 
and  buried  in  S.  Marco  in  1520. 


Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 


I.    "Vic.  Vallis  Nebule  (Pescia)  cum 

uno  Judice  licentiato 

uno  Milite  socio  not" 

uno  Notario 

iiij  Domicellis 

XV  famulis 

iiij  eq(uis) 
filippus  dantonij  lo(hannis)  di  filippo  lorinj  -  84  -  6  mesi  - 

Die  12  dicembre  1493." 
[Archiv.   di    Stato.     Reg.    Extrinsecorum,    1489-1508,   segnato   Tratte 
Cod.  70,  c.  19.] 


cum  Salario  librarum 
Duaru  miliu  sibi 
solvendarum  a  dicto 
Vic"  p(ro)  quolibet 
Semestij 


BENEDETTO  AND  SANTI  BUGLIONI  115 

2.     "Chiesa  di  San  Marco. 
Fra  I'Altare  de  Ricci  e  quello  de  Martini   Cartella  dj   marmo  nel  muro 
con  queste  due  arme  de  Lorini  (one  without,  the  other  with  the  label  of 
France)  e  con  la  seguente  Inscrizione: 

Philippus  Lorino  Antonij  F,  Patritio  Flor.  quicum  ob  egregiam  virtutem 
apud  Ludovicum  Gallic  Regem  summa  cum  gratia  et  author itate  diu  floruis- 
set  ab  eamque  turn  equestri  S.  Michaelis  Ordine  turn  Normandie  Prefettura 
ornatus  est,  Amplissimj  Republice  memeribus  in  Patria  finito  hoc  sepulcro 
a  se  extructo  conditus  est  anno  1520." 

[Archi.  di  Stato.    Rosselli,  Sepoltuario,  II,  1231.] 

Bibl. : 

C.  s.v.  Lorini  Sernigi;  Cr.,  351 ;  M.,  R.  H.,  216-217  Fig.  199;  P.,  412- 
414;  W.,  174. 


128     STATUES  OF  CHARITY  AND  HOPE.     1515.     Florence.     S. 
Lorenzo  (formerly). 

Milanesi,  doubtless  with  some  document  before  him,  states  that  for  the 
celebration  of  the  triumphal  entry  of  Leo  X  into  Florence  in  15 15,  Bene- 
detto Buglioni  made  to  be  set  up  in  S.  Lorenzo  figures  of  Charity  and 
Hope,  the  heads  and  hands  of  which  were  painted  terra-cotta.  We  can 
imagine  that  these  figures  did  not  differ  essentially  in  style  from  the  figures 
of  Charity  and  Hope,  possibly  designed  by  him  and  executed  by  Santi 
Buglioni,  for  the  frieze  of  the  Ceppo  Hospital. 

From  what  source  did  Milanesi  draw  these  definite  statements?  Luca 
Landucci,  a  contemporary  witness,  in  his  Diario  fiorentino,  352-359, 
enumerates  fifteen  or  more  localities  where  temporary  arches  and  other 
decorations  were  erected  to  celebrate  the  triumphal  entry  of  Leo  X  into  Flor- 
ence; and  Vasari  in  his  Life  of  Andrea  del  Sarto,  and  Milanesi  in  a  note 
to  the  same,  quoting  from  the  Libro  di  Condotte  e  Stansiamenti  fatti  dagli 
Otto  di  Pratica  gives  the  names  of  a  number  of  artists  who  were  occupied 
in  making  these  decorations.  It  is  noteworthy  that  neither  the  church  of 
S.  Lorenzo  nor  the  name  of  Benedetto  Buglioni  is  here  mentioned. 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Buglioni;  Landucci,  352-359;  Libro  di  Con- 
dotti  e  Stanziamenti  fatti  dagli  Otto  di  Pratica,  s.d.  151 5;  Vas.,  II, 
185;  III,  376;  IV,  182;  V,  24,  25  note;  VI,  88;  Vaughan,  143-147; 
Roscoe,  II  34-36,  401-408. 


ii6  BENEDETTO  AND  SANTI  BUGLIONI 

129     FOUR  CHERUB  HEADS  FROM  A  FRIEZE.     15 16.     Oxford. 
Ashmolean  Museum.     Photo.,  Private. 

Four  cherub  heads,  apparently  from  a  frieze  of  cherub  heads  separated 
by  yellow  pilgrim's  staff  (and  hat)  with  scroll  inscribed  alternately  SA- 
LVTIS  and  IN  VI AM  (Fig.  87).     Dated  below,  15 16. 

Bibl. : 

Ashmolean  Museum  Summary  Guide,  100.     Cr.,  349. 


Fig.  87. — Cherub  Head  from  a  Frieze. 

130  SIMILAR  CHERUB  HEAD.  Florence.  Bardini  Collection  (for- 
merly). 

Apparently  from  the  same  frieze  as  the  preceding. 

131  MADONNA  AND  CHILD  AND  FOUR  SAINTS.  ^  1516-1517. 
Badia  Tedalda.  S.  Angelo  (S.  Michele).  Rectangular  High  Altar- 
piece.     H.,  2.70m. ;  W.,  2.30m.     Photo.,  Private. 

The  church  of  S.  Michele  at  Badia  Tedalda  was  established  by  the 
Fratres  Cassinenses  or  Benedictine  monks  from  Monte  Cassino.  Messer 
Leonardo  Buonafede,  in  15 18  the  benefactor  of  Galatrona,  presented  the 
principal  altarpiece. 

The  Madonna,  of  the  Tizzano  type,  clad  in  white  with  yellow  details,  is 
seated  on  a  bench  set  on  a  lilac  and  yellow  podium,  in  front  of  a  round- 
topped  niche  and  garden  wall,  over  which  are  palms  and  fruit  trees  and 
blue  sky  (Fig.  88).  To  the  left  stand  S.  Leonardo,  Messer  Buonafede's 
patronymic  saint,  carrying  a  blue  yoke  and  book  with  yellow  clasps;  S. 
Michele,  to  whom  the  church  was  dedicated,  in  white  trimmed  yellow,  car- 
rying a  sword  and  scales;  S.  Girolamo,  a  favorite  monastic  saint,  with 
stone  against  bared  breast,  holding  a  book,  a  lion  at  his  feet ;  and  S.  Bene- 
detto, patron  saint  of  the  Cassinenses,  carrying  a  martyr's  palm  and  book. 

The  predella  exhibits  at  the  extremities  the  stemma  of  Messer  Buonafede : 
Or,  a  bull  passant  gules  on  a  mound  of  six  tops,  vert.     The  three  reliefs 


BENEDETTO  AND  SANTI  BUGLIONI 


117 


represent:  (i)  S.  Francesco  receiving  the  stigmata;  (2)  Clirist  in  Sepul- 
chre supported  by  his  mother  and  S.  Giovanni;  and  (3)  S.  Girolamo  in  the 
desert.  These  are  separated  by  pilasters  decorated  by  high  vases,  of  the 
Fabbrica  di  Peccioli  type,  holding  lilies. 


^^_U^W^    >    \Musvw    \\\\\    )()•  I  I'  '  I  •«  M  «M»  «>  M  iMrn  n  fi  »i  f»-f».f/ «r 


Fig. 


-Madonna  and   Saints,   Badia   Tedalda. 


The  large  pilasters  which  frame  the  central  relief  are  decorated  with 
candelabra  yellow  on  blue,  in  design  very  similar  to  those  on  the  J.  S. 
Morgan  altarpiece.  The  entablature,  of  the  Empoli  type,  has  a  frieze  of 
white  cherub  heads  alternating  with  yellow  star  rays  on  a  blue  ground. 


Documents. — [Copied  by  Mr.  Rufus  G.  Mather.] 

I.             "YHS  MDXVr 
"Badia  di  santo  angelo  tedaldj  dicontro 
de  dare   


ii8                   BENEDETTO  AND  SANTI  BUGLIONI 
1517   •    •    •  ■ 


E  adj  XXV  digiugnio  f  quindicj  d°  in"  la(rghi) 

faccianbuoni  a  m°  benedetto  digiovan(n)j 

buglione  schiiltore  di  terra  chotta  posto 

debbj  avere  dj  xij  al(li)b(r)o  pig**  e  fittj  C 

a  c.  5  e  f .  iii  p°(posto)  m(esser)  L  "  n(ost)ro  mag* 

avere  in  q°  c-  avutj  dalluj  dicotantj 

e  qualj  dj  (ducatj)  15  sono  p(er)  j(una)  tavola 

daltare  fatta  fare  m(esser)  L  °  detto  p(er) 

lasop(r)adetta  badia  che  fu  invetriata 

dentrovj  la  n(ost)ra  don(n)a  col  banbino  et 

s(an)c(t)o  B"  (Benedetto)  sangirolamo  s(an)c(t)o  L  " 

et  samichele  co  predella  pilastrj 

architrave  fregio  et  chornicie f  15-  1-  " 

[Archiv,  dell'Arcispedale  di  Santa  Maria  Nnova,  Libro  Giallo  F,  1516- 
1518,  c.  78.] 

2.  "  +  yhs  MDXVIJ  "  +  yhs  MDXVIJ 
I(n)  q°  291  In  margine:  I(n)  q°29i. 
"Benedetto  digiovannj  di  berenarddo         "Benedetto  digiovannj  schulttore 

dantonio  schultore diconttro  de  avere  addi  xxv 

dj  giugnio  1517  f  dodicj  doro 

glifacianobuonj  i(n)  soma  dj 

f  XV  doro  comapare  al(li)b(r)o 

giallo  s(egna)to  f  c  78  inchonto 
dellabadia  di  santo  agniolo 
tedalddj  p(er)  una  tavola 
di  n(ost)ra  don(n)a  con  piu 
fiure  (figure)  drenttovj 
tutti  di  terra  chotta 
eddachorddo  con  m(esser) 
L  °n(ost)ro  magiore- -f  12- 1-" 
[Archiv.  idem,  Libro  Fitti  e  Livelli,  C.  1517-1525,  c.  5  e  V.] 

3.  "YHS  MDXVIJ" 

"M(esser)  Lionardo  di  Giovanni  Buonafe  nr"  magg* 
de  avere 


E  ad (i) detto  (xxv  digiugnio)  1  otto  p(iccioli)  anzi  f  tre 
la(rghi)  d°  sono  che  tantj  ne  pago  piu 


BENEDETTO  AND  SANTI  BUGLIONI  119 

tenpo  fa  a  m°  benedetto  di  g'  schultore 
p(er)  coto  duna  tavola  daltare  di  terra 
chotta  fatta  p(er)  la  badia  di  santagniolo 
come  apare  a  suo  coto  in  q  C78  in  soma 

di  f  XV  d" f  3-  1-  -" 

[Archiv.  idem,  Libro  Giallo,  F.  1516-1518,  c.  CCXLVIIL] 

Bibl. : 

Burl.,  64,  212;  C-'M.,  225  No.  123;  Cr.,  332;  M.,  A.  J.  A.,  XXII 
(1918),  310-314  (Doc.)  ;i?.  H.,  226;  R.  G.  yi.,UArte,  XXII  (1918). 
194-195  (Doc.) ;  Repetti,  s.v.  Badia  Tedalda;  Vas.,  II,  197  note  Q. 

132  MADONNA  ENTHRONED  AND  SAINTS.  Cutigliano.  Chiesa 
della  Compagnia.  Rectangular  altarpiece.  H.,  2m.;  W.,  i.8om. 
Photo.,  Private. 

The  Madonna,  seated  on  a  white  and  yellow,  straight-backed  elevated 
throne,  robed  in  violet  with  mantle  of  blue  lined  green,  holds  on  her  left 
arm  the  slightly  draped  Child  (Fig.  89).  To  the  left  stands  S.  Antonio 
Abate  in  gray  hood  and  tunic  and  mantle  of  dark  brown,  holding  a  book 
and  a  staff  with  bell.  A  black  pig  at  his  feet.  To  the  right  S.  Bernardino 
of  Siena  in  gray  holding  a  blue  book  on  which  is  a  yellow  monogram  of 
Jesus,  the  lettering  resembling  Benedetto  Buglioni's  monogram  of  Jesus  at 
Perugia.  The  eyes  are  here  treated  in  Buglioni's  manner.  Background 
blue. 

The  predella  has  no  arms  at  the  extremities,  but  the  altarpiece  may  have 
been  the  gift  of  one  of  the  Florentine  capitani  or  commissarii  whose  stemnii 
in  Robbia  ware  are  set  up  on  the  Palazzo  Pretorio,  viz:  Ugolini  (1507), 
Giandonati  (1508),  Pitti  (1508),  Risaliti  (1509),  Gianfigliazzi  (1519?), 
Villani  (1519).  The  figured  panels  between  balusters  represent:  (i)  S. 
Francesco;  (2)  S.  Bartolommeo;  (3)  Mater  Dolorosa,  Christ  in  sepulchre 
and  S.  Giovanni;  (4)  S.  Marco;  and  (5)  S.  Giuliano. 

The  frame  of  the  principal  relief  has  pilasters  with  pendent  garlands  of 
mixed  fruit  and  flowers  in  heavy  bunches,  capitals  with  vases,  and  an 
entablature,  like  that  at  Badia  Tedalda,  with  a  frieze  of  cherub  heads  set 
between  yellow  star  rays. 

Bibl. : 

Fabriczy,  Riv.  d'Arte,  II  (1904),  140;  Gerspach,  Ross.  d'Arte,  VI 
(1906),  14. 


I20 


BENEDETTO  AND  SANTI  BUGLIONI 


— BipjBHI i-— > -  — ' 

Fig.  89. — Madonna  and  Saints,   Cutigliano. 


133  MADONNA  ENTHRONED  BETWEEN  SAINTS.  Paris.  Heil- 
bronner  Galleries  (in  191 1).  Roiindheaded  altarpiece.  H.,  2m.;  W., 
165m. 

The  Madonna,  clad  in  maroon  with  mantle  of  blue  lined  green,  is  seated 
on  a  throne  blue,  white  and  yellow,  with  footstool,  blue  band  between  white 
mouldings.  She  carries  a  nude  Child.  The  back  of  the  throne  shows  a 
round  arch,  as  in  the  Nuccarello  altarpiece  (1502).  Above  are  three 
cherubs.  To  the  left  stands  S.  Francesco  in  gray  holding  a  blue  book;  to 
the  right  S.  Antonio  Abate  in  brown  holding  a  yellow  cross  and  crutch. 

The  predella  has  an  egg  and  dart  cornice  above  a  blue  frieze  at  either 
end  of  which  are  the  Borgherini  arms :  Or,  a  bend  argent  charged  with 
three  roses  of  the  field.  The  principal  frame  has  pendent  garlands  of  fruit, 
flowers,  and  wheat,  arranged  in  varied  groups  of  three,  and  set  between  egg 
and  dart  mouldings. 

Bibl. : 

C,  s.v.  Borgherini. 


BENEDETTO  AND  SANTI  BUGLIONI 


121 


134  MADONNA  AND  CHILD.  Paris.  Heilbronner  Galleries  (in 
1911).     Relief  from  altarpiece.     H.,  1.20m.;  W.,  0.42m. 

The  Madonna,  in  maroon  with  mantle  of  blue  lined  green,  holds  to  the 
right  the  lightly  robed  Child  blessing.  Her  headcloth  crosses  her  breast; 
her  halo  is  yellow.    Type  similar  to  the  preceding. 

135  MADONNA  ENTHRONED  BETWEEN  SAINTS.  New  York 
City.  Orselli  and  Girard  Gallery.  Round-headed  altarpiece.  H., 
1.12m. ;  W.,  0.7m.    Photo.,  Private. 

From  the  Villa  Conte  Rota,  near  Scarperia. 

The  Madonna,  in  maroon  with  mantle  of  blue  lined  green,  holds  the 
draped  Child  on  her  left  arm  (Fig.  90).    The  bench  on  which  she  is  seated 


Fig.  90. — Madonna  and  Saints,  New  York  City. 

is  elevated  on  a  white  base.  To  the  left  stands  S.  Girolamo,  robed  in  ma- 
roon lined  green,  with  bared  breast,  stone  in  hand,  yellow  lion  and  ma- 
roon Cardinal's  hat  at  his  feet.  To  the  right  is  S.  Francesco  in  gray  car- 
rying a  book  and  yellow  cross. 


122  BENEDETTO  AND  SANTI  BUGLIONI 

136  MADONNA  ENTHRONED  BETWEEN  SAINTS.  New  York 
City.  Mr.  Michael  Dreicer's  Collection.  Round-headed  altarpiece. 
H.,  1.02m.;  W.,  0.66m. 

A  slightly  smaller  reproduction  of  the  relief  in  the  Orselli  Gallery,  in 
which  S.  Francesco  is  clad  in  maroon,  instead  of  gray. 

137  MADONNA  AND  CHILD  WITH  SAINTS.  Le  Baize.  S.  Maria. 
Altarpiece.  W.,  1.40m. 

The  Madonna  is  supposed  to  have  exhibited  herself  at  Le  Baize  in  July 
17,  1494.  She  is  here  represented  enthroned,  wearing  a  tunic  of  violet 
brown  edged  blue,  and  a  mantle  of  blue  lined  green.  Her  socks  are  yellow 
green.    She  opens  her  breast  to  the  nude  Child  seated  on  a  white  cushion. 

To  the  left  is  S.  Giovanni  Battista,  in  brown  hair  cloth  and  mantle  of 
violet  lined  brown;  nudes  unglazed.  To  the  right  is  S.  Antonio  Abate  in 
violet  brown,  carrying  a  yellow  cane  and  a  book. 

In  the  rocky  background  is  represented  the  appearance  of  the  Virgin  to 
the  women;  to  one  of  whom,  blind,  is  restored  her  sight,  the  other,  dumb, 
is  made  to  speak. 

The  frame  shows  an  egg  and  dart  between  two  taenia  mouldings.  The 
predella  displays  at  either  end  the  Cambria  coat  of  arms :  a  lion  holding  a 
branch  or  flower. 

Bibl.: 

C,  s.v.  Cambini;  Cr.  332. 

,138     MADONNA  AND  CHILD  ENTHRONED.     Florence.     Bardini 
Collection   (formerly).     Round-headed  relief.     H.,  0.55m.;  W.,  W. 
0.35m.     Photo.,  Private. 

The  Madonna  holding  the  lightly  draped  Child  on  her  right  arm  is  seated 
on  a  violet  throne.  She  is  clad  in  white,  her  breast  adorned  with  a  cherub 
head.  Haloes  are  yellow,  background  blue.  The  frame  consists  of  gar- 
lands of  olive,  yellow  fruit  and  green  leaves,  hanging  from  a  yellow  Medici 
ring. 

139  THE  GHETTINI  NATIVITY  AND  SAINTS.  Florence.  Museo 
Nazionale,  No.  56.  Rectangular  altarpiece.  H.,  2.36m.;  W.,  1.91m. 
Photos.,  Alinari,  2777;  Brogi,  9480.     Cast,  Lelli,  1162. 

From  Montaione,  S.  Vivaldo.    In  this  composition  (Fig.  91)  Benedetto 


''■^^^^•f^mmmm&m 


Fig.  91.— The  Ghettini  Nativity 


AND  Saints. 


124  BENEDETTO  AND  SANTI  BUGLIONI 

Buglioni  borrows  the  chorus  of  angels  from  Antonio  Rossellino  and  adopts 
the  technique  of  leaving  the  nudes  unglazed.  The  nude  Child,  reclining  on 
yellow  straw,  a  bolster  under  his  head,  in  a  wicker  manger,  behind  which 
is  a  brown  ox  and  gray  ass.  At  either  side  kneel  S.  Lucia,  holding  a  palm 
and  book,  and  S.  Andrea  with  large  yellow  cross  and  book.  They  are  pos- 
sibly the  patron  saints  of  the  donors.  Behind  S.  Lucia  are  S.  Giuseppe, 
robed  in  blue  edged  violet  with  mantle  of  yellow  lined  green,  and  the  Ma- 
donna, in  violet  with  mantle  of  blue  lined  green.  In  the  background  is  a 
green  tree,  the  thatched  shed  above  which  dance  the  angelic  choir,  and 
nearer  the  foreground  a  shepherd  carrying  a  lamb,  followed  by  another 
with  a  basket.  Behind  them  an  angel  announces  the  good  tidings  to  the 
shepherds. 

The  predella,  at  either  end,  exhibits  the  Ghettini  stemma :  Azure,  three 
mounts  of  three  summits  or,  2  and  i,  separated  by  a  bend  ondy  of  the 
same;  in  chief  a  label  of  Anjou,  gules  with  3  lilies  or.  Between  pilasters 
decorated  with  grotteschi  are  three  reliefs :  ( i )  S.  Francesco  receiving 
the  stigmata;  (2)  Christ  in  sepulchre  upheld  by  his  mother  and  S.  Gio- 
vanni; (3)  S.  Girolamo  in  the  desert. 

The  frame  of  the  principal  relief,  like  that  at  Cutigliano,  has  pilasters 
with  pendent  garlands,  capitals  with  vases,  and  entablature  with  cherub 
heads  separated  by  yellow  rays  of  stars.  In  the  centre  of  the  frieze  is  a 
yellow  crown  over  a  star. 

Bibl. : 

Angelelli,  CCXXX;  Burl.,  in  ;  C-M.,  160,  237  No.  199;  Cr.,  339;  M., 
R.  H.,  171,  Fig.  159;  D.  R.  A.,  153  Fig.  61;  R.,  D.  R.,  244;  Sc.  Fl, 
IV,  58;  Supino,  448  No.  56. 

140  THE  NATIVITY  AND  SAINTS.  Poppi.  Convento  delle  Agos- 
tiniane.  Rectangular  altarpiece.  H.,  2m.;  W.,  1.80m.  Photo.,  Ali- 
nari,  9796. 

A  variant  of  the  S.  Vivaldo  Nativity.  Here  the  saints  are  S.  Francesco, 
in  gray,  with  stigmata,  and  another  Franciscan  saint;  probably  S.  Antonio 
of  Padua  (right  hand  with  symbol  lost)   (Fig.  92). 

On  the  predella,  between  pilasters  with  grotteschi  are:  (i)  The  An- 
nunciation; (2)  the  Visitation;  (3)  the  Epiphany;  and  (4)  the  Assump- 
tion of  the  Virgin,  which  takes  place  from  a  walled  city.  The  frame  of 
the  principal  relief  is  very  similar  to  that  of  the  Ghettini  Nativity  although 
the  entablature,  except  the  architrave,  is  lacking.  Probably  made  for  some 
Franciscan  church  and  later  transferred  to  this  convent. 


BENEDETTO  AND  SANTI  BUGLIONI 


125 


Bibl. 


Beni,  251 ;  Burl.,  116;  C-M.,  244  No.  243;  Cr.,  352;  R.,  D.  R.,  244; 
Sc.  Fl,  IV,  58;  Vas.,  II,  199. 


Fig.  92. — The  Poppi  Nativity  and  Saints. 

141  THE  BUONAFEDE  NATIVITY  AND  SHEPHERDS.  Paris, 
Arnold  Seligman's  (1920).  Round  headed  altarpiece.  H.,  2.38m.; 
W.,  179m. 


Formerly  at  Gagliardi's  Florence,  also  at  Sangiorgl's,  Rome. 

To  the  left  sits  the  pensive  S.  Giuseppe,  robed  in  blue  with  mantle  of 
yellow  lined  green ;  at  his  feet  a  wallet  and  staff.  In  the  centre  the  Virgin, 
clad  in  maroon  with  mantle  of  blue  lined  green,  kneels  before  the  nude 
Child  who  reclines  in  a  wicker  basket  (Fig.  93).  Behind  are  the  ox  and 
ass  in  a  brick  stable  with  thatched  roof  above  which  on  a  cloud  is  the 
angelic  host.  To  the  right  in  the  foreground  are  two  ragged  shepherds, 
one  with  wallet  and  staff,  the  other  carrying  a  lamb  and  a  basket.  In  the 
background  is  the  Annunciation  to  the  shepherds. 

The  predella  contains  at  either  end  the  Buonaf ede  arms :  Or,  a  mount 
of  six  summits  vert  surmounted  by  a  bull  salient  gules.  Above  the  shield 
is  an  Abbot's  mitre.  These  are  the  arms  of  Messer  Leonardo  di  Giovanni 
Buonafede,  Abbot  of  Badia  Tedalda,  Spedalingo  of  S.  Maria  Nuova  and 
of  the  Ceppo  Hospital,  and  later  Bishop  of  Cortona.    The  reliefs,  of  which 


126 


BENEDETTO  AND  SANTI  BUGLIONI 


the  central  one  is  missing  (now  replaced  by  a  XVII  century  Pieta),  repre- 
sent S.  Leonardo  the  patronymic  saint  of  Leonardo  Biionafede,  and  S. 
Benedetto,  the  patron  saint  of  the  Order  to  which  he  belonged  (Fratres 
Cassinenses). 


Fig.  93. — The  Buonafede  Nativity. 

The  principal  frame  shows  pendent  triplex  bunches  of  fruit,  flowers,  and 
wheat  between  an  inner  and  outer  egg  and  dart  moulding. 

Bibl. : 

Cat.  Galerie  Sangiorgi;  M.,  R.  H.,  227;  P.,  369;  Seligman  pamphlet. 
The  Nativity  by  Giovanni  della  Robbia,  Frontispiece. 


142  THE  BUONDELMONTI  NATIVITY  WITH  SHEPHERDS. 
London.  Collection  of  Lady  Naylor-Leyland.  Altarpiece.  H., 
2.50m.;  W.,  1.95m. 

To  the  extreme  left  an  angel  in  white,  then  S.  Giuseppe  seated  left  hand 
to  face,  right  hand  on  knee,  clad  in  blue  with  mantle  of  yellow  lined  violet 
In  the  centre  the  Madonna,  clad  in  maroon  with  mantle  of  blue  lined 
green,  kneels  before  the  Child,  nude,  in  crib  of  light  yellow  straw.  Be- 
hind, the  ox  and  ass.     The  stable  roof,  ill  understood,  has  maroon  beams 


BENEDETTO  AND  SANTI  BUGLIONI  127 

held  together  by  cross  bands  and  is  thatched  with  hght  yellow  and  green 
straw.  Overhead  is  the  angelic  host  of  angels.  To  the  right  are  two 
ragged  shepherds;  one  in  background  with  a  sheep  over  his  shoulder,  one 
in  foreground  with  wallet  and  staff. 

The  predella,  constructed  like  that  of  the  Buonafede  altarpiece,  shows 
Buondelmonti  arms  at  dexter  and  Pazzi  arms  at  sinister  end.  It  may  be 
recalled  that  in  1483  Bartolommeo  Buondelmonti  married  Alessandra  di 
Guglielmo  Pazzi.  Three  central  panels  represent :  ( i )  S.  Girolamo  in  the 
desert;  (2)  Christ  in  the  Sepulchre;  (3)  S.  Maria  Egiziaca. 

The  principal  frame  shows  garlands  of  fruit,  flowers,  and  wheat,  hang- 
ing from  a  central  cherub  head  and  set  between  an  inner  cord  and  outer 
egg  and  dart  moulding. 

Bibl. : 

Litta,  II,  s.v.  Buondelmonti,  Tav.  XI ;  M.,  R.  H.,  53. 

143  THE  NATIVITY  WITH  SHEPHERDS  AND  ANGELS.  Petro- 
grad.    The  Hermitage,  No.  U8.     Altarpiece.    Photo.,  Museum. 

A  terra-cotta  copy,  with  modifications,  of  Antonio  Rossellino's  marble 
altarpiece  at  Naples,  church  of  Monteoliveto.  Possibly  executed  by  Bene- 
detto Buglioni. 

The  Holy  Family  are  in  a  cave  with  thatched  roof :  S.  Giuseppe  seated 
pensive,  the  Virgin  Mother  kneeling  in  adoration  before  the  Child  who 
reclines  on  straw  in  a  wicker  manger  behind  which  stand  the  ox  and  ass. 
Overhead  on  clouds  is  a  choir  of  angels  dancing  and  doubtless  singing  the 
Gloria  in  Excelsis.  To  the  right  are  shepherds  with  their  flocks  receiving 
the  announcement  from  an  angel  in  the  sky.  In  the  foreground  are  two 
shepherds  approaching  the  stable. 

The  predella  reproduces  Rossellino's  at  Naples  and  Benedetto  Buglioni's 
at  Bolsena.  The  pilasters  are  adorned  with  pendent  garlands,  the  frieze 
shows  cherub  heads,  garlands,  and  fluttering  ribbons.  In  the  lunette  above 
is  a  figure  S.  Jacopo  with  his  traveller's  staff  standing  in  a  rocky  landscape. 
Possibly  the  altarpiece  was  made  for  a  church  dedicated  to  that  Saint. 

144  NATIVITY  WITH  SAINTS.  New  York  City.  Collection  of 
Prince  Giovanni  del  Drago.  Altarpiece  with  lunette.  H.,  2.02m. ; 
W.,  1.30m.     Photo.,  Private. 

In  a  crudely  conceived  rocky  landscape  from  which  the  brick  walls  of 
a  stable  are  not  clearly  detached,  the  Christ  Child  reposes  on  hay  in  a  wicker 
basket,  the  ass  and  ox  behind  him  (Fig.  94).     To  the  left  is  the  Virgin 


128 


BENEDETTO  AND  SANTI  BUGLIONI 


Mother  on  her  knees  adoring  and  behind  her  S.  Giuseppe  seated.  In  the 
foreground  kneel  S.  Francesco,  with  stigmata  and  book,  and  S.  Lucia,  with 
vase  and  book.     Behind  are  shepherds  and  the  Annunciation  to  shepherds. 


Fig.  94. — The  del  Drago  Nativity. 

The  frame  has  pilasters  decorated  with  high  vases  from  which  issue 
bunches  of  lilies  and  fruit;  capitals  with  cornucopias  of  the  type  found 
at  Fabbrica  di  Peccioli  (1504)  ;  entablature  with  cherub  frieze;  and  lunette 
with  God  the  Father  blessing  between  two  cherubs. 

145     NATIVITY  WITH  SAINTS.     Paris.     Heilbronner  Galleries   (in 
1911).     Round  headed  relief.     H.,  i.6om. ;  W.,  1.40m. 


A  polychromatic  version  of  the  preceding.  S.  Giuseppe  seated  is  clad  in 
violet  with  mantle  of  yellow  lined  green ;  S.  Francesco  half  kneeling  wears 
gray ;  the  Virgin,  in  blue  lined  yellow,  kneels  in  adoration  before  the  nude 
Child,  who  reclines  on  white  straw  in  a  mauve  basket;  the  ox,  ass,  and 
thatched  shed  in  the  background ;  to  the  right  is  S.  Lucia,  in  blue  tunic  and 
mantle  of  light  violet  lined  yellow,  kneeling,  holding  vase,  book,  and  palm 


BENEDETTO  AND  SANTI  BUGLIONI  129 

branch.      Shepherd  and   Annunciation   to   shepherds   in   the   background. 
Overhead  are  two  angels  with  scroll  inscribed  GLORIA  IN : 

Framed  with  pendent  garlands  of  fruit,  flowers,  and  wheat  hanging 
from  yellow  rings. 

146  CHERUB  WITH  PENDENT  GARLANDS.     Paris.     Heilbromer 
Galleries  (in  1911). 

A  characteristic  fragment  from  the  atelier  of  Benedetto  Buglioni. 

147  THE  NATIVITY.    Boston,  Mass.    Museum  of  Fine  Arts.    Round 
headed  altarpiece.     H.,  1.04m.;  W.,  0.74m.     Photo.,  Coolidge. 

Presented  by  Mr.  C.  C.  Perkins.  To  the  left  S.  Giuseppe,  clad  in  blue 
edged  yellow  tunic  and  yellow  lined  green  mantle,  stands  resting  on  his 
cane.  Child  nude  in  straw  in  wicker  basket.  Ox  and  ass  in  background 
of  ill  defined  walls  and  stable  with  thatched  roof.  Overhead  white  Dove 
against  light  blue  sky.  To  the  right  the  Virgin,  in  dark  tunic  and  blue 
lined  green  mantle,  is  on  her  knees  adoring  the  divine  Child. 

Bibl. : 

M.,D.R.A.,  144-153,  Fig.  60. 

148  S.  GIUSEPPE  AND  THE  CHRIST  CHILD.     Florence.    Private 
Collection.     H.,  0.75m. ;  W.,  0.62m.     Photo.,  Postal  card. 

S.  Giuseppe,  of  the  bald  headed,  bearded  type,  holds  the  nude  Christ  Child 
on  a  cushion  in  his  arms  (Fig.  95).  In  his  right  hand  he  holds  a  stalk  of 
lilies.  This  composition  was  probably  designed  for  a  Compagnia  di  S. 
Giuseppe. 

The  frame  consists  of  pendent  garlands  hanging  from  a  crossed  white 
ribbon. 

149  MADONNA.     Paris.    Louvre,  No.  450.     Statuette,  H.,  0.80m. 

From  the  collection  Davillier.  Partially  glazed.  The  Madonna's  cloak 
is  glazed  blue.  She  carries  the  Child  who  wears  light  white  drapery  and 
holds  his  forefinger  to  his  mouth.    She  stands  on  mottled  violet  ground. 

Bibl. : 
Cr.,  350. 


I30 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig,  95. — S.  Giuseppe  and  Christ  Child. 

150     ADORATION  WITH  S.  GIOVANNINO.    Turin,  Pinacoteca,  No. 
196.    Medallion,  Diam.,  0.88m.     Photo.,  Brogi,  8107. 

In  a  polychromatic  landscape  with  light  blue  sky  the  Virgin  kneels 
toward  the  left,  clad  in  tunic  unglazed  and  mantle  blue  lined  green,  adoring 
the  nude  Child,  who  reclines  on  his  mother's  mantle  on  yellow  straw,  with 
finger  in  his  mouth  (Fig.  96).  Behind  him  the  ox  and  ass,  and  to  the  left 
S.  Giovannino  in  hair  cloth  and  mantle.     All  nudes  unglazed. 

The  frame  consists  of  an  inner  egg  and  dart  and  outer  scale  ornament, 
between  which  is  a  continuous  garland  of  fruit,  flowers,  and  wheat  with 
animalculi — snails,  frogs,  grasshopper. 


Bibl. : 
Cr.,  356. 


BENEDETTO  AND  SANTI  BUGLIONI 


131 


Fig.  96. — The  Turin  Adoration. 

151     ADORATION  WITH  S.  GIOVANNINO.    Redhill,  Surrey.     Col- 
lection of  Mrs.  Feilden.     Medallion.     Photo.,  Private. 


A  variant  of  the  Turin  medallion.  Here  the  Madonna,  Child,  S.  Gio- 
vannino,  ox  and  ass  are  all  glazed  white.  Haloes  probably  modern.  The 
group  is  set  in  a  polychromatic  landscape  containing  an  Annunciation  to 
the  shepherds  and  a  distant  city  (Bethlehem?). 

The  frame  consists  of  a  continuous  garland  of  polychromatic  fruit,  flow- 
ers, and  wheat,  between  an  inner  egg  and  dart  and  outer  leaf  moulding. 

152     THE  NATIVITY  WITH  S.  GIOVANNINO.    Berlin.    Collection 
of  Herr  Jules  Simon.     Medallion.     Diam.,  0.56m, 

Within  a  frame  of  flowers,  blue  and  white,  and  long  green  leaves,  is  an 
Adoration  or  Nativity.  The  Madonna,  facing  left  kneels  before  the  Child 
who  reclines  on  light  green  hay  and  partly  on  his  mother's  robe.  Above 
him  are  the  ox  and  ass  and  to  the  left  S.  Giovannino  with  a  cross,  holding 
a  scroll  inscribed  ECCE  AGNVS  DEI.  To  the  right  is  S.  Giuseppe  sadly 
pensive.  Above  him  a  shepherd,  dog,  and  angel.  The  scene  is  set  in  a 
rocky  landscape,  with  green  fields  and  a  dark  blue  sky. 

Bibl. : 
Cr.,  334. 


132  BENEDETTO  AND  SANTI  BUGLIONI 

153     THE  NATIVITY  WITH  GLORIA  IN  EXCELSIS. 
Palazzo  Antinori  (via  de'Serragli).     Round-headed  relief. 
W.,  1.2m. 


Florence. 
H.,  2m.; 


To  the  left  is  S.  Giuseppe,  seated,  clad  in  blue  edged  yellow,  and  mantle, 
yellow  lined  violet.  In  the  centre  on  gray  straw  lies  the  Child,  with  finger 
in  his  mouth.  The  ox  and  ass  above  him.  To  the  right  kneels  the  Ma- 
donna adoring,  clad  in  violet  tunic  and  mantle  of  blue  lined  green.  Over- 
head the  Dove  and  two  flying  angels  with  scrolls  inscribed :  GLORIA  IN 
E(XCELSIS). 

The  frame  has  a  cherub  head  at  the  apex,  from  which  hang  garlands  of 
fruit,  chiefly  grapes.  Outside  of  the  fruit  garland  is  an  egg  and  dart 
moulding. 


154     THE  NATIVITY.    Borgo  S.  Sepoloro. 
lar,  small. 


Via  Gherardi.    Rectangu- 


Apparently  a  product  of  the  Buglioni  atelier.  The  Madonna  and  S. 
Giuseppe  worship  the  Child,  the  ox  and  ass  in  the  background.  Above  is 
the  Sacred  Dove  and  a  star. 


155  THE  MONTEDOMINI  ANNUNCIATION.  Florence  (near). 
Castello  di  Vincigliata.  Cappella.  Lunette,  pointed  arch.  Photos., 
Alinari,  3334;  Brogi  9142. 

This  lunette  (Fig.  97)  was  at  the  monastery  of  Montedomini  until  1869. 


Fig.  97. — The   Montedomini   Annunciation. 


BENEDETTO  AND  SANTI  BUGLIONI  133 

It  appears  to  have  been  the  gift  of  Francesco  d' Antonio  Busini  and  his 
wife  Cammilla  di  Francesco  BerHnghieri,  as  it  bears  the  Busini  arms: 
Barry  indented  or  and  azure,  on  a  bend  gules  three  roses  argent ;  and  those 
of  the  BerHnghieri  family :  Argent,  a  chevron  sable.  This  marriage  took 
place  in  1508. 

This  composition  may  be  attributed  to  Benedetto  Buglioni  on  account  of 
the  form  of  the  throne,  the  use  of  the  baluster,  the  diagonal  setting  of  the 
base  of  the  vase,  the  overflowing  leaves.  The  rushing  S.  Gabriele  may  be 
seen  also  in  the  predella  of  a  Nativity  altarpiece  at  Poppi.  The  God  Father 
in  the  mandorla  of  cherub  heads  is  unusually  crude.     Polychromatic. 

The  frame  shows  outer  pendent  garlands  of  fruit,  flowers  and  wheat, 
and  an  inner  egg  and  dart  moulding. 

Bibl. : 

Burl.,  119;  C-M.,  119;  214  No.  54;  257  No.  339;  Crollalanza  s.v. 
Busini,  Antilla;  Cr.,  342;  M.,  R.  H.,  171  (Doc.)  ;  R.,  D.  R.,  247;  Sc. 
Flor.,  IV,  60;  Scott,  71;  Wills,  132. 

156     THE  ANNUNCIATION.    London.    Victoria  and  Albert  Museum, 
No.  4o65-'56.     Panel.    H.,  0.68m. ;  W.,  0.58m. 

S.  Gabriele  runs  from  the  left,  clad  in  green  tunic  and  white  garment. 
Wings  have  polychromatic  horizontal  stripes.  The  Annunziata  is  seated  on 
a  light  yellow  throne ;  she  is  clad  in  maroon  with  mantle  of  blue  lined  green. 
In  upper  left  hand  corner  God  Father  blessing,  surmounted  by  cherubs. 

Bibl. : 

Burl.,  120;  C-M.,  270  No.  408;  Cr.,  346;  Robinson,  70  No.  4065. 


157  CHRIST  IN  SEPULCHRE  ADORED  BY  TWO  NUNS.     Flor- 
ence (near).    Castello  di  Vincigliata.    Lunette.     Photo.,  Brogi,  9156. 

The  Christ  with  outstretched  arms  is  in  a  very  small  sepulchre.  Be- 
hind him  are  the  spear  of  Longinus  and  the  hyssop  rod  of  Stephaton.  On 
either  side  is  a  praying  nun.  The  lunette  is  said  to  have  come  from  the 
Retiro  Capponi,  Florence. 

Bibl. : 

Cr.,  343;  Scott,  VhKigliata,  140. 

158  S.  GIROLAMO  IN  THE  DESERT.     Sarzana.    Duomo,  S.  Maria. 
Round-headed  altarpiece.     H.,  2.60m.;  W.,  i.8om.     Photo.,  Private, 

From  the  Oratorio  di  S.  Girolamo  this  altarpiece  (Fig.  98)  was  trans- 
ported to  the  Cathedral  and  set  up  in  1903.     Nudes  of  principal  figures  un- 


134 


BENEDETTO  AND  SANTI  BUGLIONI 


glazed.  S.  Girolamo,  in  mantle  of  maroon  lined  blue,  with  bared  breast, 
stone  and  book  in  hand,  kneels  before  a  crucifix.  His  cardinal's  hat  and 
lion  before  him.  Various  details — the  stratified  rocks,  lizards,  squirrel, 
bird,  type  of  trees — indicate  the  hand  of  Benedetto  Buglioni. 

The  predella,  divided  by  pilasters  decorated  by  grotteschi,  show:  (i) 
S.  Girolamo  plucks  a  thorn  from  the  lion's  paw;  (2)  the  lion  protects  the 
ass  who  brought  wood  to  the  monastery;  (3)  the  ass  is  stolen  while  the 
lion  sleeps;  (4)  the  lion  brings  the  faggots  home. 


t — 


Fig.  98. — S.  Girolamo  in  the  Desert,  Sarzana. 


BENEDETTO  AND  SANTI  BUGLIONI 


135 


The  principal  frame  has  pendent  garland  of  fruit,  flowers,  and  wheat, 
and  outer  egg  and  dart  moulding.  The  lunette  shows  Christ  in  sepulchre 
assisted  by  two  angels.  The  frame  of  lunette  shows  garlands  pendent  from 
a  cherub  head  of  the  15 16  type. 

Bibl. : 

A.  e  S.,  XXII  (1903),  100;  Guasti,  Caff.,  166;  Neri,  Gior.  Ligustico, 
I,  113;  Podesta,  Mon.  robbiano  in  Sarzana,  1903;  J.  de  Voragine, 
Leg.  Doree,  30  Sept.  S.  Jerome, 


159     MADONNA  AND   CHILD.     Florence. 
Group  in  a  niche.    Photo.,  Alinari,  20370. 


Via   Nazionale  No.    16. 


The  Madonna,  robe  unglazed  but  mantle  glazed  blue  lined  green,  is 
seated  on  stratified  rocky  ground  holding  the  nude  Child  (Fig.  99).  Re- 
stored by  Zenobius  Fortunati  in  1855.  The  outer  frame  of  the  niche  shows 
garlands  of  triplex  bunches  of  fruit  and  flowers  separated  by  transverse 
ribbons,  hanging  from  the  neck  of  a  cherub  head.  Below  is  a  tabella  ansata 
with  an  inscription  in  praise  of  the  Madonna. 

Bibl. : 
Cr.,  342. 


Fig.  99. — The  Via  Nazionale  Madonna. 


136 


BENEDETTO  AND  SANTI  BUGLIONI 


160  S.  LUCIA  ADORED  BY  ANGELS.  Florence.  S.  Lucia  dei  Mag- 
noli, — over  entrance.  Lunette.  H.,  1.14m. ;  W.,  i. 88m.  Photo.,  Ali- 
nari,  2513 ;  Brogi,  4680. 

This  lunette  (Fig.  100)  may  be  assigned  to  Benedetto  Buglioni  between 
the  years  1510  and  1520,  as  the  central  figure  resembles  the  S.  Lucia  of  the 
Ognissanti  lunette  and  the  Bottigli  Madonna  now  in  the  Innocenti  Gallery. 


Fig.  100. — S.  Lucia  between  two  Angels,  Florence. 

S.  Lucia  holds  in  her  left  hand  a  vase  containing  eyes,  while  to  the  right 
and  left  kneels  an  angel  with  folded  arms.    White  figures  against  blue. 

The  frame  shows  pendent  garlands  of  fruit,  flowers,  and  wheat,  exe- 
cuted in  low  relief,  set  between  cord  and  egg  and  dart  mouldings.  The 
bunches  of  fruit  are  polychromatic,  irregularly  composed,  and  have  heavy 
stems  bound  diagonally  by  ribbons. 

Bibl. : 

B-J.,  87;  B.,  Kf.,  23;  Burl.,  57;  C-M.,  147,  208  No.  17;  Cr.,  252,  341 ; 
Vas.,  II,  192. 

161     CIRCULAR  FRAME.    Diam.,  1.375m.    New  York  City.    Bardini 
Sale  of  1918. 

Encircling  a  terra-cotta  Madonna  by  Benedetto  Maiano  is  a  frame  of 
polychromatic  fruit,  flowers,  and  wheat  separated  by  an  inner  egg  and  dart 
and  an  outer  leaf  and  dart  moulding. 


Bibl. : 
Bardini  Collection,  Cat.,  No.  353. 


1520-1521 


I520-I52I 


162  THE  BOTTIGLI  ALTARPIECE.  MADONNA  ENTHRONED 
BETWEEN  SAINTS.  1920.  Florence.  Ospedale  degli  Innocent!. 
Galleria  Poccetti.  Round-headed  altarpiece.  H.,  1.90m.;  W.,  1.27m. 
Photo.,  Brogi,  13715. 

This  altarpiece  was  until  1905  in  the  chapel  of  the  Bottigli  family  in  the 
Fattoria  di  Figline,  near  S.  Miniato  al  Montanino  and  was  transferred  for 
safety  to  the  gallery  of  the  Innocenti  Hospital. 

The  Madonna,  robed  in  maroon  edged  yellow  with  a  mantle  of  blue 
lined  green,  wearing  yellow  socks,  holds  the  draped  Child  on  her  right 
arm  (Fig.  loi).  Her  mantle  was  probably  superficially  decorated  with 
a  floral  pattern  now  worn  away.  Her  throne  has  a  double  podium  faced 
maroon  with  yellow  mouldings.  To  the  left  stands  S.  Domenico,  in 
white  with  black  mantle,  holding  a  blue  book  and  a  stalk  of  lilies;  to  the 
right  is  S.  Francesco  in  gray  holding  a  yellow  cross  and  book.  Overhead 
two  angels  with  wings  striped  blue,  green  and  maroon,  hold  a  yellow 
crown  ornamented  with  blue  and  green  jewels. 

The  predella  has  at  each  end  a  disk  which  probably  bore  the  Bottigli  arms. 
In  the  centre  is  a  tabella  ansata  inscribed: 

QVESTO  •   TABERNACHOLO  •  A  FATTO 
FARE-   M(AD)ON(N)A  FRANCHESCHA- DON(N)A  FV 
DI  MICHELE-  BOTTIGLI-  L'AN(N)0-  1520. 
Principal  frame,  an  egg  and  dart  moulding  in  part  traversed  by  the  stand- 
ing saints. 
Bibl. : 

Archiv.  d.  Osped.  d.  Innocenti,  Invent.  31  Dec.  191 3,  c.  311 ;  Cr.,  348 
(s.v.  Montanino)  ;  M.,  D.  R.  A.,  167,  Fig.  68;  R,  H.,  242-243. 

163  MADONNA  AND  CHILD,  SAINTS,  NATIVITY,  CHRIST  IN 
SEPULCHRE.  Florence  (near).  Castello  di  Vincigliata.  Photo., 
Alinari,  3328. 

In  the  cortile  of  the  Castello  di  Vincigliata  are  gathered  fragments  of 
an  altarpiece  said  to  have  come  from  the  monastery  of  Montedomini.   Here 


140 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  ioi. — The  Bottigli  Madonna  and  Saints. 


BENEDETTO  AND  SANTI  BUGLIONI  141 

are  preserved:  (i)  Madonna  del  Latte  or  Madonna  suckling  the  draped 
Child,  a  typical  Buglioni  Madonna  robed  in  maroon  with  mantle  of  blue; 
(2)  A  kneehng  monk  (S.  Francesco?)  to  the  left;  (3)  a  kneeling  nun  (S. 
Chiara?)  to  the  right;  (4)  predella  relief  of  the  Nativity  and  Shepherds; 
(5)  predella  relief  of  Christ  in  the  sepulchre  upheld  by  his  mother  and 
S.  Giovanni. 

Bibl. : 

Burl.,   119;  Cr.,  343;  R.,  D.  R.,  256,  260;   Sc.  Fl,  IV,  63;  Scott. 
Vinci gliata,  47-48,  65.  . 

164  MADONNA  SUCICLING  CHILD.     Florence.     Museo  Nazionale, 
No.  61.     H.,  0.82m.     Photo.,  Private. 

Full  length  Madonna  seated  on  a  bench,  nudes  and  tunic  unglazed,  mantle 
glazed  blue  lined  green,  kerchief  and  Child's  dress  white,  suckles  the  in- 
fant Christ. 

Bibl.: 

Burl.,  Ill;  Cr.,  339;  Supino,  449  No.  61. 

165  MADONNA  SUCKLING  THE  CHILD.    Nippozano. 

In  a  niche  on  the  wall  of  the  Terrena  Albizi  a  Madonna,  violet  robe,  blue 
mantle,  suckles  a  nude  curly  haired  Child,  who  is  seated  on  a  yellow  and 
white  cushion.     Nudes  unglazed. 

Bibl. : 

Burl.,  115;  C-M.,  241  No.  221 ;  Cr.,  349;  Guide  Joanne,  It.  Centr.,  193. 

166  MADONNA  IN  GLORY.    Pisa.    Camposanto,  Cappella  Ammanati. 
Oval.     H.,  im. ;  W.  0.50m.     Photo.,  Alinari,  8624;  Van  Lint,  91. 

The  Madonna,  robed  in  maroon  with  mantle  of  blue  lined  green,  is 
seated  on  yellow,  maroon,  and  green  clouds  holding  on  her  left  knee 
a  nude  Child  (Fig.  102).  The  mandorla  is  upheld  by  eight  cherub  heads 
who  encroach  upon  its  yellow  border.  This  relief  probably  formed  part 
of  an  altarpiece  of  the  Assumption  with  Saints. 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Buglioni;  Burckhardt,  II,  436;  C-M.,  99, 
243  No.  231;  Cr.,  552;  Fabriczy,  Riv.  d'Arte,  II  (1904),  141. 


142 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  102. — Madonna  in  Glory,  Pisa. 

167     MADONNA  IN  GLORY.    Monte  Oliveto  Maggiore,  Abbazia.    Me- 
dallion, Diag.    o.8om.     Photo.,  Alinari,  9152. 

The  Madonna,  in  maroon  with  mantle  of  blue  lined  green,  is  seated  within 
a  yellow  edged  mandorla  surrounded  by  four  blue  winged  cherubs.  The 
frame  consists  of  a  fruit  garland  beneath  which  is  a  blue  winged  cherub. 


Bibl. : 

Brogi,  34-35;  Burl.,  115;  R.,  Sc.  FL,  IV,  63. 

168  LAMENTATION  OVER  THE  DEAD  BODY  OF  CHRIST. 
New  York  City.  Collection  of  Mr.  Thomas  F.  Ryan.  Round-headed 
altarpiece.    H.,  1.30m.;  W.,  .80m. 

In  November  1909  the  collection  of  Freiherr  Adalbert  von  Lanna  was 
sold.  It  contained  a  round-headed  altarpiece.  No.  1035,  on  which  was  rep- 
resented the  Lamentation  over  the  dead  body  of  Christ  (Fig.  103).  The 
composition  is  the  usual  one  with  variations.  S.  Giovanni,  to  the  left 
kneeling,  is  clad  in  blue  with  maroon  mantle;  in  the  centre  the  Madonna, 
in  maroon  tunic  and  mantle,  with  white  head  cloth,  carries  on  her  knees 
the  relaxed  body  of  Christ,  glazed  white;  to  the  right  kneels  S.  Francesco 
clad  in  gray.  In  the  background  is  a  broad  cross,  yellow,  against  a  blue 
background. 


BENEDETTO  AND  SANTI  BUGLIONI 


143 


The  predella  with  heavy  egg  and  dart  cornice  and  plain  blue  frieze  shows 
two  coats  of  arms.  On  the  dexter  side,  the  Trotti  arms :  Party  per  fess, 
or  and  azure.  On  the  sinister  side,  the  Davanzati  arms :  Azure,  a  lion 
rampant  or. 


Fig.  103. — Lamentation  over  Dead  Christ.    New  York*  City. 


Bibl. : 


C,  s.v.  Trotti ;  Davanzati ;  M.,  R.  H.,  241  ;  Sammlung  Lanna,  Prag, 
Cat.,  Vol.  I,  p.  XXXIII,  61-62,  No.  473,  Taf.  39. 

169     PIETA   OR  LAMENTATION.      Florence.      S.    Pancrazio    (for- 
merly). 


Vasari,  in  his  life  of  Verrocchio,  tells  us  that  in  a  chapel  in  S.  Pancrazio 


144  BENEDETTO  AND  SANTI  BUGLIONI 

Buglioni  made  "iin  Cristo  morto.''  It  was  still  there  in  the  i8th  century 
in  the  third  chapel  and  entitled  a  Pieta.  Both  titles  are  somewhat  vague. 
It  may  have  been  a  Christ  in  the  Sepulchre,  or  a  Lamentation  more  or  less 
similar  to  the  Pieta  sold  with  the  von  Lanna  collection  in  1909.  The  ref- 
erences to  it  by  Baldinucci  and  others  are  mere  repetitions  of  Vasari. 

S.  Pancrazio,  rebuilt  by  Giovanni  Rucellai  in  1480,  is  now  suppressed, 
and  the  whereabouts  of  this  Pieta  is  unknown. 

Documents : 

1.  'Tn  San  Brancazio  fece,  in  una  cappella,  un  Cristo  morto" 
[Vasari,  VI,  376.] 

2.  "3*  Cappella  una  Pietas  di  Bened"  Buglioni" 

[Bibl.  Marucelliana,  Estratto,  ossia  Guida  per  osservare  le  cose  piii  nota- 
bili  della  Citta  di  Firenze,  Cod.  Carta  Sec.  XVIII,  segnato  C  59,  c.  12.] 

Bibl. : 

Baldinucci,  VI,   18;  Bombe,  B-Th.,  Lex.,  s.v.   Buglioni;  C-M.,   144 
note  I ;  Marcotti,  220 ;  Vasari,  VI,  376. 

170     LAVABO.      1520.      Prato.      S.    Niccolo    a    Tolentino.      Sacristy. 
Round-headed  frame.   H.,  2.75m.;  W.,  1.55m.    Photo.,  Alinari,  10073. 

This  lavabo  (Fig.  104)  was  removed  from  the  convent  of  S.  Anna, 
Prato,  in  Nov.  1847.  ^  marble  basin  is  provided  with  water  from  a  faucet 
which  issues  through  a  lion  mask  from  a  wall  panel  on  which  is  represented 
a  dull  blue  vase  supported  by  two  winged  putti  and  resting  on  a  cherub 
head.  The  vase  is  decorated  with  a  storiated  frieze  (Lapiths  and  centaurs?) 
between  scale  pattern  and  godrons  and  contains  a  bunch  of  polychromatic 
fruit  overhanging  the  lips  of  the  vase.  Above  this  is  a  panel  in  which 
is  set  a  medallion,  framed  by  a  fruit  and  wheat  wreath  with  fluttering 
yellow  ribbons,  and  displaying  a  shield  bearing  the  Salviati  arms :  Argent, 
bendy  bretesse  gules. 

Above  these  panels  is  a  lunette  with  Madonna  supporting  the  nude  Child 
blessing  and  standing  on  a  cloud  streaked  yellow,  gr6en,  and  maroon.  An 
adoring  angel,  curly  haired,  yellow  collared,  to  the  left  and  right. 

The  frame  consists  of  two  pilasters  similarly  decorated  with  candelabra, 
white  with  details  of  yellow  against  a  blue  background — more  elaborate 
than  the  pilasters  of  the  Morgan  altarpiece.    The  candelabra  contain  tablets 
inscribed : 
AVERARDVS  •  ALAMANNI  •  DE  SALVIATIS  •  FIERI  •  FECIT  r 

ANNO  1520. 
Averardo^  Salviati's  coat  of  arms  appears  also  on  the  pilasters.     The  inner 
sides  of  the  projecting  pilasters  are  decorated  with  stalks  with  flowers  and 


BENEDETTO  AND  SANTI  BUGLIONI 


145 


wheat  rising  from  slender  vases,  as  on  many  of  the  pilasters  of  the  Ceppo 
Hospital,  Pistoia.  These  support  a  slight  entablature  decorated  with  yellow 
egg  and  white  dart  moulding.    The  frame  of  the  lunette  shows  a  four  strand 


Fig.  104. — Lavabo,  Prato. 


guilloche  with  triple  file  of  yellow  "eyes"  against  a  blue  ground.  Above 
this  is  at  the  apex  an  amphora  on  each  side  of  which  sits  a  nude  putto  sup- 
porting a  pendent  garland  of  fruit,  flowers,  and  wheat.  The  putti  and 
garlands  should  not  be  classed  with  those  of  Giovanni's  lavabo  in  S.  Maria 


146 


BENEDETTO  AND  SANTI  BUGLIONI 


Novella  (1497),  but  with  the  garlands  of  the  Bolsena  ciborium  or  the  Barga 
(Monache)  Assumption. 

Bibl. : 

B-J.,  96;  B.,  Kf.,  24;  Burl.,  116;  C,  s.v.  Salviati;  Carotti,  A.  S.  A., 
IV  (1891),  112-116;  C-M.,  246  No.  255;  Corradini,  47;  Cr.,  236,  330; 
Giglioli,  a  Prato,  58-59;  Guasti,  Giiida,  52;  M.,  R.  H.,  239-241;  Fig. 
223;  R.,  D.  R.,  235-238;  Sc.  F.,  IV,  53,  55  5  Vas.,,II,  199;  Wills, 
172-173. 

171     MADONNA   AND   CHILD.     London.      Dorchester   House.      H., 
1.50m.   (with  console). 

No  background.  The  lightly  draped  Child  stands  on  a  plain  pedestal,  his 
right  hand  raised,  left  on  his  mother's  girdle.  The  Madonna,  three  quarter 
length,  with  her  right  hand  supports  the  Child,  with  the  left  holds  up  his 
drapery. 

The  console  shows  cherub  head  between  white  cornucopias  with  poly- 
chrome fruit.  Too  large  for  the  relief.  Mouldings,  leaf  and  dart  and 
light  yellow  tgg  and  dart. 


172     STEMMA  OF  BARTOLOMMEO  TROSCIA.     1520.     Buggiano 
Alto.     Castello.     Photo.,  Private. 

Within  a  medallion  (Fig.  105)  framed  with  an  inner  cord  moulding,  a 


Fig.  105. — Stem  MA  of  Bartolommeo  Troscia. 


BENEDETTO  AND  SANTI  BUGLIONI  147 

garland  of  dark  pine  cones  alternating  with  light  coloured  pomegranates 
and  quinces,  and  an  outer  egg  and  dart  moulding,  set  against  a  blue  back- 
ground are  two  putti  supporting  a  Tuscan  shield  on  which  are  displayed 
the  del  Troscia  arms :  Gules,  three  circlets  argent,  two  and  one,  between  the 
upper  two  a  shieldlet  argent  blazoned  with  a  bull  segreant  crowned  with  a 
crosslet  gules;  in  a  chief  or  a  lion  passant  azure. 

Below  is  a  cherub  head  supporting  a  tabella  ansata  inscribed : 

BARTHOLOMEVS  A  TR 

OSCIVS  A  NICOLAI  A  FIL 

IVS  A  P(OTES)TAS  A  M  A  DXIX  A  (E)T  XX 

Bibl. : 

Cr.,  335;  M.,  R.  H.,  239,  Fig.  222;  P.,  788-789. 

173  THE  SCALA  ALTARPIECE,  MADONNA  ENTHRONED 
WITH  SAINTS.  Empoli(  near).  S.  Maria  a  Ripa.  Rectangular 
altarpiece.     H.,  2.62m.;  W.,  2.38m.     Photo.,  Alinari,  10132. 

The  glazed  frame  is  attributable  to  Benedetto  Buglioni  (Fig.  106),  the 
unglazed  central  and  predella  reliefs  to  some  other  hand.  The  principal 
frame  has  pilasters  like  those  of  the  lavabo  at  Prato  (1520),  capitals  and 
entablature  like  those  of  the  Immaculate  Conception  altarpiece  at  Empoli. 
The  pilasters  of  the  predella  with  their  grotteschi  are  also  of  the  Buglioni 
type. 

The  central  relief  represents  the  Madonna  on  a  throne  with  round-headed 
back  and  double  stepped  base  holding  the  lightly  draped  Child  on  her  right 
arm.  To  the  left  stands  S.  Giuliano,  with  book  and  sword;  to  the  right 
S.  Francesco  with  stigmata  and  book.  In  both  cases  the  books  are  set  with 
their  narrow  sides  towards  the  spectator. 

The  predella  shows  at  the  dexter  end  the  stemma  of  the  Scala  family: 
Azure,  a  ladder  argent;  at  the  sinister,  those  of  the  Benini-Formiche  family : 
Argent,  two  chains  in  saltire,  gules.  The  reliefs  represent:  (i)  S.  Giuli- 
ano murdering  his  parents;  (2)  Christ  in  sepulchre  supported  by  his  mother 
and  S.  Giovanni;  and  (3)  S.  Francesco  receiving  the  stigmata. 

Bibl. : 

B.,  Kf.,  25;  Carocci,  Valdarno,  81-82;  C-M.,  254  No.  317;  Cr.,  337; 
M.,  R.  H.,  241,  Fig.  224;  Giglioli,  174. 

174  THE  ANNUNCIATION  AND  THE  ASSUMPTION.  Castigli- 
one  Fiorentino.  Collegiata.  Rectangular  altarpiece.  H.,  2.20m. ;  W., 
0.80m.     Photo.,  Private. 

S.  Gabriele,  arrayed  in  a  white  flowered  tunic  with  blue  sleeves,  a  mantle 


148 


BENEDETTO  AND  SANTI  BUGLIONI 


*''^^f'''>'»i^>*^f'f»»i*'^^ 


F:g.  io6. — The  Scala  AIadoxna  and  Saims,  Empoli. 


of  green  flowered  with  gold  and  lined  with  yellow,  carrying  a  stalk  of 
lilies,  kneels  before  the  Virgin  (Fig.  107).  She  is  seated  on  a  high  backed, 
maroon  throne.  Over  a  maroon  tunic  she  wears  a  blue  mantle  flowered 
with  gold  and  lined  with  green.  Flesh  unglazed.  Between  them  is  a  blue 
vase  of  lilies  with  overhanging  leaves,  above  which,  in  a  mandorla  sup- 
ported by  two  angels,  is  seated  the  Madonna,  hahds  folded,  wearing  a 
white  mantle.  To  the  left,  above,  is  God  the  Father  in  a  glory  of  cherub 
heads,  blessing. 

The  predella  has  pilasters  with  grotteschi  and  reliefs  of  ( i )  S.  Antonio 
of  Padua;  (2)  S.  Sebastiano;  (3)  The  Nativity  and  Shepherds;  (4)  S. 
Francesco;  and  (5)  S.  Rocco.  The  principal  frame  has  pilasters  like  those 
of  the  Prato  lavabo  (1520)  and  an  entablature  with  frieze  of  cherub  heads 
and  yellow  rays  like  those  at  Badia  Tedalda,  Cutigliano  and  elsewhere. 

Bibl. : 

Cr.,  336;  Guide  Joanne,  If.  Centr.,  268. 


BENEDETTO  AND  SANTI  BUGLIONI 


149 


■w .    ir  • 


Fig.  107. — The  Annunciation,   Castiglione  Fiorentino. 


175  MADONNA  DELLA  CINTOLA.  Poppi.  Via  la  Costa,  188,  gia 
Casa  di  Bramasoli.  Round-headed  shrine.  H.,  1.36m.;  W.,  0.80m. 
Photo.,  AHnari,  9795. 


The  Madonna,  robed  in  violet  with  mantle  of  white  lined  green,  seated 
on  clouds  in  a  mandorla  upheld  by  four  angels,  a  cherub  head  at  her  feet, 
lets  down  her  girdle  to  the  doubting  S.  Tommaso  who  kneels  to  the  left 
(Fig.  108).  He  is  arrayed  in  green  tunic  and  blue  mantle.  As  in  the  As- 
sumption in  the  chiesa  delle  Monache  at  Barga  the  sarcophagus  filled  with 
lilies  is  set  with  short  end  toward  the  spectator.     To  the  right  kneels  S. 


ISO 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  io8. — Madonna  della  Cintola,  Poppi. 

Girolamo,  holding  a  stone,  half  covered  with  a  maroon  mantle.     He  re- 
sembles the  S.  Girolamo  at  Sarzana. 


Bibl. 


Burl.,  ii6;  C-M.,  244  No.  240;  Cr.,  352;  Vas.,  II,  199. 


SANTI  BUGLIONI 
1520-1530 


1 520-1530 


176  MADONNA  DELLA  CINTOLA.  1521.  Badia  Tedalda.  S.  Aii- 
gelo  (S.  Michele).  Round-headed  altar  piece.  H.,  1.84m.;  W.,  1.52m. 
Photo.,  Private. 

The  Madonna,  robed  in  maroon  with  mantle  of  white,  seated  on 
clouds  in  a  blue,  edged  yellow,  mandorla  which  is  supported  by  six  angels 
and  a  cherub  head  at  base  and  summit,  lowers  a  light  violet  girdle  to  the 
doubting  S.  Tommaso,  who,  robed  in  maroon  with  mantle  of  blue  lined 
green,  is  on  his  knees  with  uplifted  hands  (Fig.  109).  The  maroon  sar- 
cophagus is  filled  with  lilies. 

A  frame  of  eighteen  cherub  heads  above  streaky  clouds,  between  taenia 
and  egg  and  dart  mouldings,  surrounds  the  relief. 

At  the  apex  yellow,  wavy  and  straight  star  rays. 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

"YHS  MDXVIJ 
(In  margine:  in  questo  291) 
"Benedetto  di  Giovannj  di  bernardo  dantonio  schultore 


E  de  dare  adi  xv  dimagio 
1 52 1  f  sej  s  X  li(larghi)  doro 
inoro  autj  p(er)  noj  e  degluominj 
delabadia  tedaldj  e  qualj 
gliebe  santi  di  michele 

ischultore f6l3sx 

E  de  dare  adi  xv  deto 
f  tre  l(argh)i  doro  inoro 
porto  santo  dimichel 
chele  (sic)  chontanti 
p(er)  resto  di  lavori 
auti  -  -  -  f  3  1-  s-  " 


"Et  de  avere  adi  xv  di 
magio  1521  f  oto  l(argh)i 
doro  inoro  sono  p(er)  una 
Tavola  dasijzione  di  n(ostra) 
don(n)a  di  terra  chota 
auta  daluj  e  p(er)  mandarla 
alabadia  tedaldj  p(er) 
chonto  di  m(esser)  nostro 

magiore f  8  1- 

E  de  avere  adi  deto  f 
uno  e  mezo  l(argh)i  doro 
inoro  sono  p(er)  la  valuta 
duntabernacholo  da 
chorpo  isdominj  auto 

daluj  p(er)  deta  badia 

f  I  1  3-  s  10-  " 


154 


BENEDETTO  AND  SANTI  BUGLIONI 


E  adj  23  dj  maggio  1522  f  dua  l(argh)i  in  oro  per  luj  da  santi  di  michele 
schultore  a  entrata  seg*°  n  c.  48 .  .  .  i  2  lib- 
[Arch.  dell'Arcispedale  di   Santa  Maria  Nuova,  Libro  Fitti  e  Livelli, 
C.  1517-1525,  c.  5  e  v.] 


Fig.  109. — Madonna  della  Cintola,  Badia  Tedalda. 


Bibl. 


Burl.,  112;  C-M.,  225  No.  125;  Cr.,  332;  M.,  A.  J.  A.,  XXII  (1918) 
313-316  (Doc.)  ;  R.  G.  M.,  L'Arte,  XXI  (1918),  194  (Doc). 


177     CIBORIO.     1521.     Badia  Tedalda.     S.  Angelo  (S.  Michele).     H., 
1.13m.     Photo.,  Private.  ^, 


BENEDETTO  AND  SANTI  BUGLIONI 


155 


Not  unlike  the  Pucci  ciborio  at  Certaldo.  Pilasters  recall  those  of  the 
pulpit  at  Perugia,  floor  like  gridiron,  one  angel  in  each  of  the  two  niches, 
dove  issues  from  ceiling.     Entablature  of  crude  mouldings,  frieze  missing, 


'H\.f)uijHi  Hif  in  %m9mmmmw^ 


Fiu.  1 10. — Ciborio,   Badia   Tedalda, 

lunette  with  infant  Christ  blessing  standing  on  cloud,  cherub  head  at  his 
feet  and  at  either  side  (Fig.  no). 
Document: — [Same  as  the  preceding.] 

Bibl. : 

Burl.,  112;  C-M.,  225  No.  126;  Cr.,  332;  M.,  .^.  /.  A.,  XXII  (1918), 
314-316  (Doc);  R.  G.  M.,  UArte,  XXI  (1918),  194  (Doc). 


178     MADONNA  DELLA  CINTOLA.     Porrena.     Chiesa  Parrochiale. 
Altarpiece.     Photo.,  Alinari,  9799. 

In  a  Buglioni  landscape,  open  in  the  centre  and  bordered  with  umbrella- 
like trees,  is  set  a  large  vase  of  lilies,  to  the  left  of  which  kneels  S.  Tom- 


156 


BENEDETTO  AND  SANTI  BUGLIONI 


maso  in  dark  robe  and  mantle,  and  to  the  right  S.  Girolamo  with  bared 
breast,  stone  and  book,  also  kneeling.     Overhead  the  Madonna  in  a  man- 


FiG.  III. — Madonna  della  Cintola,  Porrena. 

dorla  supported  by  four  angels  and  a  cherub  head  lets  down  her  girdle  to 
the  doubting  S.  Tommaso  (Fig.  iii). 

Frame,  twenty-two  cherub  heads  on  dark  clouds,  with  an  outer  egg  and 
dart  moulding. 

Bibl. : 

Beni,  251;  Burl.,  116;  C-M.,  244  No.  244;  Cr.,  352;  Vas.,  II,  199. 

179     THE  ANNUNCIATION,     c.   1521.     Badia  Tedalda.     S.  Angelo 
(S.  Michele).     Relief  statues.     Photo.,  Private. 


To  the  left  of  the  High  Altar  is  a  figure  of  S.  Gabriele  (Fig.  112), 
poorly  conceived  and  modelled,  arm  and  wing  repaired,  standing  carrying 
a  lily  branch.     To  the  right  is  the  Annunziata  (Fig.  113),  standing,  with 


BENEDETTO  AND  SANTI  BUGLIONI 


157 


Fig.  112. — S.  Gabriele,  Badia  Tedalda.  Fig.  113. — The  Annunziata,  Badia  Tedalda. 

left  hand  on  breast,  right  hand  holding  a  book,  clad  in  maroon  with  mantle 
of  blue  lined  green. 


Bibl. : 

C-M.,  225  No.  123;  M.,  A.  J.  A.,  XXII  (1918),  315-316  (Doc). 

180  ANNUNCIATION  AND  SAINTS  GIULIANO,  SEBASTIANO, 
AND  ANTONIO  ABATE.  1522.  Badia  Tedalda,  S.  Angelo  (S. 
Michele),    Altarpiece.     Photo.,  Private. 

This  altarpiece  (Fig.  114),  has  lost  its  predella  and  the  frame  except  the 
frieze  of  cherub  heads  and  the  rays  (?)  now  set  overhead.  The  present 
frame  is  of  plaster.  The  principal  relief  represents  three  saints  standing  in 
open  country.  To  the  left  is  S.  Giuliano,  in  short  blue  tunic,  with  mantle 
of  maroon  lined  green,  holding  a  sword  and  martyr's  palm.  A  dog  is 
at  his  feet.  In  the  centre  is  S.  Sebastiano,  with  violet  loin  cloth,  his  arms 
bound  to  a  tree  trunk.  To  the  right  is  S.  Antonio  Abate,  in  maroon  with 
gray  brown  mantle,  with  staff  and  book.  A  black  pig  is  at  his  feet.  Over- 
head are  two  flying  angels  holding  a  martyr's  palm  and  a  crown.  The 
two  cherub  heads  at  the  sides  are  out  of  place,  and  evidently  formed  part 
of  the  cherub  and  star  rays  frieze. 

Above  the  principal  relief  is  an  Annunciation  in  lunette  form.  S.  Gab- 
riele with  lily  branch  advances  rapidly  hailing  the  Virgin  who,  robed  in 
maroon  with  a  mantle  of  blue  lined  green,  is  seated  on  a  throne  before  a 
lectern  supported  by  a  baluster  and  set  on  a  mottled  pedestal.  Vase  of 
lilies  and  other  flowers  in  the  centre,  Holy  Dove  overhead. 


158 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  114. — The  Annunciation,  S.  Sebastiano  and  Saints,  Badia  Tedalda. 


Documents.: — [Copied  by  Mr.  R.  G.  Mather.] 
I.    "E  addi  xx  dj  settenbre  1522 
f  diecj  r  d"  in°  chontantj 
seglj  fanno  buonj  p(er)  una 
tavola  fatta  p(er)  unaltare 
maggiore  della  badja 
Santangnjolo  tedaldj  et  p(er) 
luj  da  santi  dj  michele 
Schultore  e  chome  disse 
m(esser)  L  "  n°  maggiore 
debjtore  allibro  V(er)de  h  c.  32-- 


f  10-I-" 


BENEDETTO  AND  SANTI  BUGLIONI  159 

[Arch.  deH'Arcispedale  di  Santa  Maria  Nuova,  Libro  Fitti  e  Livelli,  C. 

1517-1525  c.  v.] 


■ 

W^BBl^ 

Tt 

is 

hm^P^h 

h^m 

*'^'                   ■4^''                   ..^9^]!^2^«^ '  "wyj^ 

Fig.  115. — The  Annunciation  Between  Frati. 

2.  "+YHS  MDXXJ 

Lionardo  di  giovannj  buonafe  nostro  magiore 
dichontro  de  dare 

E  adj  XX  diset(ten)b(r)e  1522  f  diecj  1'  doro  inoro 

fatj  buonj  p(er)  luj  a  isantj  dimichele  ischultore 

e  p(er)  lui  a  benedetto  di  giovannj  ischultore 

posto  avere  a(l)lib(r)o  pigione  s'°  C  c.5  ;  e  disono 

p(er)  resto  e  paghamento  dima  tavola  aiita 

dakij  mandata  p(er)  suo  chonto  alabadia 

tedaldj f  10-  s-  " 

[Archiv.    dell'Arcispedale   di    Santa   Maria   Nuova,  'Libro   Verde,   H., 
T521-1524,  c.  32.] 

Bibl. : 

Burl.,  112;  C-M.,  225  No.  124;  Cr.,  332;  M.,  A.  J.  A.,  XXII  (1918), 
316-318  (Doc). 

181  THE  ANNUNCIATION,  FLANKED  BY  KNEELING  FRATI. 
Florence.  Confraternita  di  S.  Pietro  Maggiore.  Entrance.  H., 
0.97m.;  W.,  1.53m.     Photo.,  Alinari,  3667. 

Vasari,  in  his  life  of  Verrocchio,  attributes  to  Benedetto  Buglioni  the 


i6o  BENEDETTO  AND  SANTI  BUGLIONI 

lunette  over  the  principal  entrance  to  the  church  of  S.  Piero  Maggiore,  Al- 
though Milanesi  states  that  this  no  longer  exists,  the  Annunciation  there  in 
Richa's  day  and  still  in  place,  might  well  be  attributed  to  one  of  the  Bugli- 
oni  (Fig.  115).  The  "lavori  bellissime  di  Luca  della  Robbia"  mentioned 
by  Richa  as  in  the  Corbizzi  chapel  are  however  no  longer  there.  (Possibly 
one  of  them  may  be  the  small  altarpiece  by  Giovanni  della  Robbia,  now  in 
the  cloister.)  The  polychromatic  wings  of  the  Angel  are  coloured  in  Bugli- 
oni's  not  in  Giovanni  della  Robbia's  manner;  the  mottled  maroon  vase 
with  its  overhanging  bouquets  is  suggestive  of  Buglioni's  work  at  S.  Pietro, 
Perugia.  The  Madonna,  in  maroon  tunic  and  mantle  of  blue  lined  green, 
seated  before  a  curtain  of  green  lined  maroon  with  yellow  fringe,  may  be 
associated  with  works  of  Santi  Buglioni  at  Badia  Tedalda  and  elsewhere. 
The  two  white  hooded  Frati  recall  the  adoring  Frati  in  the  lunette  of  the 
Scalzo. 

Bibl. : 

Baldinucci,  VI,  18;  Bombe,  in  B-Th.  Lex.,  s.v.  Buglioni;  C-M.,  212 
No.  43;  Cr.,  252,  341 ;  Richa,- 1,  139,  141 ;  Vas.,  II,  185  note;  III,  376. 

182  S.  GABRIELE,  FRAGMENT.    Montepaldi  (near  S.  Casciano),  S. 
Pietro. 

In  the  sacristy  of  S.  Pietro  at  Montepaldi  may  be  seen  a  fragment  of 
S.  Gabriele,  bearing  a  stalk  (of  lilies).  Probably  from  the  atelier  of  Santi 
Buglioni. 

Bibl. : 

Burl.,  115;  C-M.,  238  No.  207;  Cr.,  348. 

183  MADONNA  AND   SAINTS.     Florence.     Museo  Nazionale,   No 
53.      Round-headed   altarpiece.      H.,    1.65m.;   W.,    1.50m.      Photos., 
Alinari,  2772;  Brogi,  9481. 

Formerly  in  the  Convent  of  S.  Maria  Assunta  di  Vallombrosa,  su- 
pressed  March  4,  1868. 

The  Madonna,  in  maroon  with  mantle  of  blue»  lined  green,  stands  on  a 
double  stepped  pedestal  (imitation  of  marble),  holds  on  her  left  arm  the 
nude  Child  holding  a  bird  (Fig.  116).  To  the  left  is  S.  Jacopo  Maggiore, 
in  yellow  with  mantle  of  maroon  lined  green,  holding  a  yellow  pilgrim's 
staff;  to  the  right  is  S.  Gualberto  in  brown  habit,  holding  a  green  book  in 
profile  and  a  yellow  cane  ornamented  with  a  human  head.     Overhead  is  a 


BENEDETTO  AND  SANTI  BUGLIONI  i6i 


Fig.  ii6. — Madonna  and  Saints,  Florence. 

looped  curtain,  green  lined  with  maroon.    A  garland  of  very  massive  fruit 
hanging  from  the  top  constitutes  the  frame. 

Bibl. : 

Burl.,  Ill ;  C-M.,  216  No.  68;  Cr.,  339;  Supino,  448  No.  53. 

184  THE  MEETING  OF  S.  GIUSEPPE  AND  S.  MARIA.     Dico- 
mano.     Pieve,  S.  Maria.     Round-headed  altarpiece.     Photo.,  Private. 

S.  Giuseppe,  assured  by  an  angel  of  the  Lord  and  by  the  dove  which 
flew  upon  his  head,  dismisses  his  doubts  and  receives  Maria  as  his  spouse 
(Matth.  I,  18-25;  Protevangelium,  IX,  XIV;  Pseudo-Matthew,  VIII;  Hist, 
of  Joseph  the  Carpenter,  VI).  Though  lacking  in  the  usual  accompani- 
ments this  scene  might  be  termed  the  Sposalizio.  Here  God  the  Father 
emerges  from  the  clouds  blessing,  surrounded  by  a  halo  of  cherubs;  the 
"shining  white  dove"  rests  above  S.  Giuseppe  while  he  reassures  S.  Maria 
by  a  firm  clasp  of  the  hand  (Fig.  117).     Polychromatic. 

Framed  by  pendent  garlands  of  fruit  and  flowers. 

185  ADORATION  OF  THE  MAGI.     Citta  di  Castello.     S.  Cecilia. 
Lunette.     H.,  i.33ni. ;  W.,  4m.     Photo.,  Alinari,  4854. 


1 62 


BENEDETTO  AND  SANTI  BUGLIONI 


P^iG.  117. — Meeting  of  S.  Giuseppe  and  S.  Maria. 


In  the  extreme  left  corner  of  this  lunette  (Fig.  118)  is  a  coat  of  arms  of 
Citta  di  Castello:  Per  pale,  dexter,  argent  a  cross  gules;  sinister  gules  a 
tower  or;  in  a  chief  gules  LIBERTAS  or,  and  above  all  the  Leo  X  stemma: 
indicating  probably  a  privilege  granted  by  Leo  X  after  his  visit  to  Citta  di 
Castello. 

To  the  left  is  a  brown  camel ;  a  youth  in  blue  blouse,  green  tights,  wear- 
ing a  turban  and  yellow  shoes,  attends  a  white  horse;  the  younger  king 
stands  wearing  a  yellow  crown,  clad  in  yellow  tunic  and  mantle  of  blue 
lined  green,  holding  a  yellow  vase;  the  middle-aged  king  with  crown  and 
turban  and  clad  in  yellow  also  holds  a  yellow  vase ;  the  older  king  as  usual 
is  kneeling,  clad  in  blue  tunic  and  mantle  of  green  lined  yellow.  Behind 
a  post  is  S.  Giuseppe  in  blue  with  mantle  of  yellow;  before  him  is  seated 
the  Virgin  in  maroon  tunic  and  mantle  of  blue  lined  green,  a  white  kerchief 
over  her  head  and  shoulders.     She  holds  the  nude  Child  on  her  right  knee. 


BENEDETTO  AND  SANTI  BUGLIONI  163 


Fig.  118. — Adoration  of  the  Magi,  Citta  di  Castello. 

In  the  corner  to  the  right  is  an  ass  grazing,  the  saddle  and  water  flask  on 
the  ground.  Nudes  unglazed.  This  composition  may  have  been  influenced 
by  Benedetto  Buglioni's  aUarpiece  of  the  Epiphany  (1500),  formerly  at 
Massa-Carrara. 

Bibl. : 

Amati,  s.v.  Citta  di  Castello;  Cr.,  336;  Graziani,  153;  Guardabassi,  49; 
M.,  R.  H.,  258. 

186  THE  INCREDULITY  OF  S.  TOMMASO.  Montebottolino  (near 
Badia  Tedalda).  S.  Tommaso.  Round-headed  altarpiece.  H., 
2.46m.;  W.,  1.85m.     Photo.,  Private. 

S.  Tommaso,  robed  in  green  with  mantle  of  violet  lined  blue  advances 
toward  the  Christ  to  satisfy  his  doubts.  To  the  right  stands  Christ,  of  the 
Verrocchian  type,  raising  his  right  arm  so  as  to  expose  his  wounded  side. 
He  is  robed  in  maroon  edged  yellow  and  wears  a  mantle  of  blue  lined 
green. 

The  predella  has  at  each  end  a  tablet  with  scalloped  sides.  The  one  to 
the  left  is  inscribed:  GNOGNIO  DI  SALVADURE  DA  MONTE 
BOT(T)OLINO  FECIT  FIERI;  that  the  right  TE(M)PORE  DON- 
BATIS(TA)  DANGHIARI  RECTURE  DI  QVESTA  CHIESA.  The 
mixture  of  Latin  and  Italian  is  noteworthy.  The  relief s  represent :  (i)  S. 
Sebastiano,  in  rocky  landscape;  (2)  Christ  in  sepulchre  with  spear  and 
sponge  rod;  and  (3)   S.  Rocco  in  rocky  landscape. 

The  frame  of  the  principal  relief  has  seventeen  cherub  heads  between 
a  fillet  and  tgg  and  dart  moulding. 

The  influence  of  Benedetto  Buglioni  is  manifest  in  this  relief.  In  quality 
it  is  inferior  to  Giovanni  della  Robbia's  treatment  of  the  same  subject  at 
Rifredi. 

Bibl. : 

Burl.,  115;  C-M.,  238  No.  203;  Cr.,  348. 


i64  BENEDETTO  AND  SANTI  BUGLIONI 

187  CHRIST  GIVES  KEYS  TO  S.  PIETRO.  Fresciano  (near  Badia 
Tedalda).  Chiesa  Parrochiale.  Round-headed  altarpiece.  H., 
2.14m.;  W.,  1.72m,     Photo.,  Private. 

Christ,  in  a  maroon  tunic  lined  yellow  and  mantle  of  blue  lined  green, 
stands  with  right  hand  raised.  To  the  left  on  his  knees  is  S.  Pietro,  robed 
in  blue  with  mantle  of  yellow  lined  green,  clasping  two  keys  to  his  breast 
(Matth.  XVI,  19). 

The  predella  has  at  the  dexter  end  a  tablet  inscribed  GNOGNIO  DI 
SALV ADORE  DA  MO(N)TE  BOT(T)OLINO  F(IERI)  F(ECIT). 
The  tablet  at  the  sinister  end  probably  contained  the  name  of  the  rector  of 
the  church.  The  reliefs  are  ( i )  Christ  in  the  sepulchre  with  spear  and  rod 
with  sponge — probably  once  in  the  centre  of  the  predella;  (2)  relief  re- 
moved; and  (3)  S.  Paolo  with  sword. 

The  frame  has  seventeen  cherub  heads  between  a  fillet  and  egg  and  dart 
moulding. 

Bibl. : 

Burl.,  114;  C-M.,  233  No.  181;  Cr.,  344. 

188  TRINITY  AND  SAINTS.  Colcellalto  (near  Badia  Tedalda).  S. 
Tommaso.  Round-headed  altarpiece.  H.,  2.40m. ;  W.,  2.40m. 
Photo.,  Private. 

God  the  Father,  entire  figure,  in  maroon  tunic  and  pallium  of  blue  lined 
yellow,  upholds  the  yellow  cross  on  which  hangs  the  crucified  Christ,  the 
Holy  Dove  above  his  head.  Four  cherub  heads  in  the  sky.  Standing  are 
to  the  left  S.  Sebastiano  with  arms  tied  to  tree  trunk,  and  to  the  right  S. 
Antonio  in  greenish  yellow  robe  and  black  mantle,  with  book,  staff  and  pig. 

Predella,  milling.  Frame  shows  pilasters  with  bunches  of  fruit  hanging 
from  rings,  and  archivolt  with  fruit  hanging  from  cherub  head. 

Bibl. : 

Burl.,  114,  118;  C-M.,  231  No.  163;  253  No.. 307;  Cr.,  338. 

189  MADONNA.    Selci.    Chiesa. 

In  the  church  at  Selci,  near  Citta  di  Castello,  is  a  Madonna  attributed  by 
Graziani  to  the  author  of  the  lunette  representaing  the  Adoration  of  the 
Magi  now  in  the  church  of  S.  Cecilia,  Citta  di  Castello. 

Bibl. : 

Graziani,  154.  " 


BENEDETTO  AND  SANTI  BUGLIONI  165 

190  THE  SEVEN  DEEDS  OF  MERCY;  FIVE  VIRTUES,  TWO 
SIRENS.  1 526-1 528.  Pistoia.  Ospedale  del  Ceppo,  Loggia.  H., 
1.35m. ;  Length,  40.25m.  Photos.,  Alinari,  10252-10275  ;  Brogi,  4548- 
4560.     Casts,  Cantagalli,  491,  492,  327,  332.  ^ 

The  Ospedale  del  Ceppo  at  Pistoia  was  founded  early  in  12 18  and  was 
long  controlled  by  Augustinian  brothers  of  the  society  known  as  S.  Maria 
deir  Assunta,  or  S.  Maria  del  Ceppo,  i.e.  of  the  stumps.  In  the  sixteenth 
century  when  the  hospitals  of  Tuscany  were  reorganized,  the  Ceppo  came 
under  the  jurisdiction  of  the  Hospital  of  S.  Maria  Nuova  of  Florence. 
On  Feb.  24,  15 12  Francesco  di  Maso  di  Papi  was  commissioned  to  provide 
the  stone  and  labor  for  a  portico,  longer  by  one  arch  than  the  existing 
portico  (Doc.  i).  Porticoes  or  loggias  had  been  built  for  the  Florentine 
hospitals,  S.  Maria  Nuova,  the  Innocenti,  and  S.  Paolo.  By  151 5  the  deco- 
ration of  this  loggia  would  seem  to  have  begun;  at  any  rate  in  that  year 
Benedetto  Buglioni  was  commissioned  to  make  a  coat  of  arms  of  the  hos- 
pital. Judging  from  the  decoration  of  the  loggias  of  the  Florentine  hos- 
pitals, it  seems  probable  that  he  would  have  fulfilled  his  commission  by 
making  one  or  more  medallions  to  be  placed  in  the  spandrels  of  the 
arcade.  If  so,  we  must  suppose  that  sooner  or  later  his  work  was  discarded 
in  favour  of  a  complete  series  of  larger  medallions  designed  and  executed 
by  Giovanni  della  Robbia.  One  of  these  medallions  bears  the  date  1525  and 
the  records  show  that  in  that  year  Giovanni  received  an  order  for  five  full 
and  four  half  medallions  for  the  Ceppo  hospital.  The  commission  was 
given  by  the  spedalingo  of  the  hospital  Messer  Leonardo  Buonafede  who 
had  employed  Giovanni  at  Galatrona  (15 18)  and  elsewhere.  In  1521  Leon- 
ardo Buonafede  commissioned  Benedetto  Buglioni  to  make  the  principal 
altarpiece  for  the  Badia  Tedalda  and  would  naturally  have  thought  of  him 
for  the  frieze  of  the  Ceppo  hospital.  But  in  1525,  when  Buonafede  assigned 
the  medallions  to  Giovanni  della  Robbia,  Benedetto  Buglioni  was  no  longer 
living.  He  died  in  1521,  and  his  atelier  was  now  in  charge  of  Santi  di 
Michele,  better  known  as  Santi  Buglioni.  Should  we  turn  to  the  records  of 
S.  Maria  Nuova  and  of  the  Ceppo  hospitals  in  search  of  the  name  of  a 
sculptor,  we  find  between  the  years  1526  and  1528  that  Santi  Buglioni, 
sculptor,  was  paid  413  lire,  9  soldi  on  account  of  the  Ceppo  hospital  (Docs. 
3-12).  This  included  charges  for  terra  brought  from  the  Arno,  and  prob- 
ably refers  to  the  frieze.  In  fact  the  frieze  shows  many  of  the  stylistic 
peculiarities  of  Santi  Buglioni.  It  is  now  many  years  since  I  suggested  in 
the  Brickhuilder  that  he  was  the  author  of  the  frieze,  but  that  in  its  general 
design  and  in  the  modelling  of  some  of  the  figures  he  may  have  had  the 
assistance  of  some  other  master,  perhaps  of  Tribolo  with  whom  he  was  as- 
sociated in  other  important  monuments. 


1 66 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  119. — The  Ceppo  Hospital,  Pistoia. 


Leonardo  Buonafede  became  Bishop  of  Cortona  in  1529  and  died  in 
1545.  Santi  Buglioni  himself  died  in  1576;  hence  the  date  1585  regis- 
tered on  the  frieze  can  refer  only  to  its  completion  by  another  hand.  Local 
tradition,  perhaps  falsified  records,  indicate  that  the  frieze  was  completed 
by  a  painter,  Maestro  Filippo  di  Lorenzo  Paladini.  But  this  attribution 
lacks  sufficient  evidence. 

The  general  scheme  of  decoration  appears  to  have  been  to  illustrate  by 
figured  compositions  the  Seven  Deeds  of  Mercy,  placing  one  on  the  short 
side  of  the  loggia  near  the  entrance  of  the  hospital  church,  and  one  over 
each  intercolumniation  of  the  fagade  (Fig.  119).  The  other  short  side, 
being  a  relatively  unimportant  location,  was  intentionally  left  undecorated. 
Buglioni's  medallion  containing  the  arms  of  the  hospital  could  hardly  have 
been  designed  for  this  position. 

The  figured  compositions  are  separated  by  pairs  of  pilasters  framing 
either  inscribed  tablets  or  figures  of  Virtues.  Possibly  originally  it  was 
intended  to  inscribe  one  of  the  Beatitudes  in  each  pilaster  group.  On  the 
first  short  side  in  this  location  occurs  the  inscription  BEATI  MVNDO 
CORDE  Q(VONIA)M  (IPSI  DEVM  VIDEBVNT),  from  Matt.  V,  8. 
Between  the  first  pair  of  pilasters  on  the  facade  is  inscribed  (Fig.  120)  : 
BEATI  MISERI  CORDE  Q(VONIA)M  (IPSI  MISERICORDIAM 
CONSEQVENTVR),  from  Matt.  V,  7.  Between  the  succeeding  pairs 
instead  of  beatitudes  are  figures  of  Virtues,  and  between  the  last  is  the 


BENEDETTO  AND  SANTI  BUGLIONI 


167 


misplaced  termination  of  the  first  inscription  (Fig.  121)  :  Q(VONIA)M 
IPSI  DEV(M)  VIDEBVNT  and  the  date  M.  D.  LXXXV.  A  comparison 
of  Fig.  120  and  Fig.  121  will  indicate  that  a  considerable  lapse  of  time  and 
change  in  artistic  conception  intervened  between  the  beginning  and  termi- 
nation of  the  frieze.    The  Virtues  being  in  high  relief  emphasize  the  con- 


FiG.  120. — Beatitude. 


Fig.  121. — Beatitude  and  Date. 


tinuity  of  the  frieze.  Had  the  inscribed  tablets  been  used  the  individuality 
of  the  separate  compositions  would  have  been  more  evident.  This  detach- 
ment was  however  secured  by  a  novel  method  of  varying  the  colour  of  the 
background,  which,  in  some  cases,  was  blue,  in  others  violet,  white,  even 
green.  The  Virtues  are  not  specifically  related  to  the  adjoining  composi- 
tions. Charity  is  properly  the  central  Virtue.  She  is  flanked  by  Faith  and 
Hope  and  more  remotely  by  Prudence  and  Justice. 

The  Deeds  of  Mercy  are  set  up  in  no  logical  order.  If  composed  with 
Matthew  XXV,  35-36  in  mind  we  should  expect  the  order  to  be  (i)  Feed- 
ing the  Hungry;  (2)  Giving  Drink  to  the  Thirsty;  (3)  Lodging  the 
Strangers;  (4)  Clothing  the  Naked;  (5)  Visiting  the  Sick;  (6)  Visiting 
Prisoners;  to  which  would  be  added  (7)  Burying  the  Dead;  whereas  the 
actual  order  begins  with  Clothing  the  Naked  and  ends  with  Giving  Drink 
to  the  Thirsty. 

We  may  now  examine  the  frieze  in  detail. 
I.  Clothing  the  Naked  (Fig.  122). 

This  composition,  located  on  the  short  side  of  the  loggia  near  the  hos- 
pital church,  has  no  terminal  pilasters  at  its  left  end,  where  the  loggia  be- 
gins to  project  from  the  wall  of  the  hospital.  At  the  right  end  is  a  pilaster 
group  like  the  terminal  pilaster  group  on  the  fagade.  The  background 
consists  of  irregularly  shaped  tiles,  exhibiting  varying  tints  of  greenish 


i68 


BENEDETTO  AND  SANTI  BUGLIONI 


blue,  a  novelty  in  terra-cotta  backgrounds.  The  composition  shows  un- 
usual freedom  from  conventionality.  To  the  left  of  the  central  figure  are 
six  men,  partially  clad,  though  not  in  tatters ;  to  the  right  two  nuns  and  a 
neophyte,  and  three  civilian  women,  one  dragging  along  a  nude  child.  The 
central  figure  wears  a  white  tunic,  a  beretto  and  cape  of  very  dark  blue  for 
black.     We  recognize  in  him  Messer  Leonardo  di  Giovanni  Buonafede, 


mmmmmm'mmmm 


^"•—Hr^-^^ 


:. — Clothing  the  Naked. 


donor  of  the  loggia  in  15 12,  appointed  spedalingo  or  governor  of  the  hos- 
pital by  Leo  X  in  1522,  and  mentioned  in  the  documents  as  "nostro  mag- 
giore."  He  was,  moreover  the  patron  of  Benedetto  Buglioni  at  Badia 
Tedalda,  and  of  Giovanni  della  Robbia  at  Galatrona.  His  funerary  por- 
trait at  the  Certosa  by  Francesco  da  San  Gallo  shows  a  striking  simi- 
larity to  the  features  here  portrayed. 

The  first  in  the  group  of  men  to  the  left,  and  somewhat  separated  from 
the  rest,  is  almost  a  copy  of  Michelangelo's  David,  a  statue  the  locating  of 
which  was  decided  by  a  commission  of  which  Benedetto  Buglioni  was  a 
member.  We  also  recall  that  Santi  Buglioni  had  a  son  named  Michel- 
angelo. We  may  note  the  freedom  of  pose  and  the  "controposto"  in  this 
group  of  men  of  slightly  Verrocchian  type.  We  notice  also  the  use  of  a 
bright  yellow  and  a  brilliant  green  throughout  the  frieze,  sharply  differ- 
entiated from  the  mustard  yellows  and  dull  greens  used  by  Giovanni  della 
Robbia.  To  the  right  of  Buonafede  one  of  the  two  nuns  is  robed  in  blue, 
the  other  in  violet.  They  do  not  wear  the  violet  mantle  of  the  nuns  of  S. 
Maria  Nuova,  which  was  not  granted  to  the  nuns  of  the  Ceppo  Hospital 
until  1540  when  Angelo  Marzi  was  spedalingo  and  Governatore. 
2.  Lodging  the  Stranger  (Fig.  123). 

Background  light  blue.     To  the  left  a  group  of   four  pilgrims,  with 
staves,  whose  faces  are  animated  portraits.     Light  shades  of  blue,  green, 


BENEDETTO  AND  SANTI  BUGLIONI 


169 


Fig.  123. — Lodging  the  Stranger. 

yellow,  and  violet  for  garments.  Central  group  divided.  Christ  disguised 
as  a  pilgrim,  in  robe  of  violet  lined  green  and  mantle  of  blue  lined  green, 
draws  the  attention  of  a  fine  old  hospital  brother  clad  in  blue  to  a  group 
where  Buonafede  on  his  knees  washes  the  feet  of  S.  Giovanni  Battista, 
also  portrayed  as  a  pilgrim,  clad  in  violet  tunic  over  which  is  thrown  a 
coat  of  yellow  brown  hair  cloth.  Attendant  with  pitcher  in  background. 
To  the  right,  another  attendant,  a  bed  covered  with  violet  (red  velvet) 
spread  and  white  canopy,  offered  by  a  nobleman  in  black  robes  and  long 
white  stockings. 
3.  Visiting  the  Sick  (Fig.  124). 

Background  of  white,  as  if  the  walls  of  a  hospital,  with  rows  of  beds  on 
either  side.  Little  attempt  at  perspective.  To  the  left  an  ill  man  in  bed, 
with  blue  spread ;  the  doctor,  robed  in  brown  and  black,  feels  his  pulse.  At 
the  foot  of  the  bed  an  old  woman  with  a  crutch  offers  the  sick  man  the  con- 
tents of  a  yellow  jug.     Next  are  two  attendants,  one  taking  down  the  doc- 


FiG.  124. — Visiting  the  Sick. 


170 


BENEDETTO  AND  SANTI  BUGLIONI 


tor's  orders,  and  a  stupid  errand  boy,     Buonafede,  now  in  full  habit,  black 
over  white,   receives  submissively  a  rebuke   from  a  second  doctor,  who 
stands  at  the  foot  of  bed  No.  12  where  a  patient  is  receiving  the  ministra- 
tion of  three  attendants. 
4.  Visiting  Prisoners  (Fig.  125), 

Background,  in  part  the  violet  prison  walls,  in  part  a  greenish  blue  in 
large  tiles  of  irregular  shape.  The  narrow  prison  door  in  its  dark  colour- 
ing imitates  iron,  so  do  the  window  gratings  behind  which  are  lightly 
sketched  heads  of  old  men.  Door  and  windows  are  framed  in  white.  A 
visitor,  clad  in  blue  robe  with  green  mantle,  is  s.eated  conversing  with  one 
of  the  interned  prisoners.  Next,  seated  on  the  ground,  his  feet  shackled, 
is  Christ,  wearing  a  cruciferous  nimbus.  He  is  clad  in  violet  edged  yellow 
and  a  cloak  of  blue  lined  green.     Though  unobserved  by  the  seated  visitor 


Fig.  125. — Visiting  Prisoners. 


he  appears  to  exclaim  "I  was  in  prison  and  ye  came  unto  me"  (Matt., 
XXV,  36).  Behind  stands  a  man,  with  solemn  mien  and  hands  crossed, 
who  seems  puzzled  by  the  thought  of  an  imprisoned  Christ.  The  central 
group  are  Buonafede  and  a  sainted  deacon  in  robe  of  brilliant  green  with 
rectangular  patches  of  blue  edged  yellow  on  his  breast  and  lower  garments. 
The  saint  is  perhaps  S.  Lorenzo,  a  token  of  respett  or  gratitude  to  the 
Medici,  or  perhaps  Buonafede's  own  patronymic  saint  S.  Leonardo.  Be- 
yond is  a  man,  with  a  Michelangelesque  head,  who  points  to  two  servants 
carrying  pails  of  water  and  towels. 
5.  Burial  of  the  Dead  (Fig.  126). 

Background  of  large  blue  tiles.  To  the  left  a  group  of  men  engaged  in 
lowering  a  dead  man  into  his  grave.  At  the  head  oi  the  group  stands  an 
official  in  violet  mantle  over  black.  In  the  centre  of  the  panel  is  the 
isolated  figure  of  Buonafede  robed  in  black  over  white.     To  the  right  is  a 


BENEDETTO  AND  SANTI  BUGLIONI 


171 


dead  woman,  perhaps  one  of  the  nuns  figured  in  the  first  panel  for  her  sistei 
nun  at  the  font  of  the  bier  is  overwhehned  with  o'rief.     Three  acolytes,  in 


Fit,.  12b. — Burial  of  the  Deah. 


white  surplices,  swing  a  censer,  hold  up  a  crucifix,  and  a  rod  of  hyssop, 
while  at  the  head  of  the  bed  prayers  for  the  dead  are  read  by  a  priest  who 
wears  a  pluvial  of  violet,  bordered  blue,  lined  yellow  and  adorned  with 
white  crosses. 
6.  Feeding  the  Hungry  (Fig.  127). 

Background  chiefly  white  walls,  broken  by  light  green  curtains  to  the 
left  and  dark  doorway  in  the  centre.  To  the  left  is  a  table  spread  with  food 
which  is  being  devoured  by  three  hungry  men  seated  on  a  yellow  bench. 
An  aproned  assistant  brings  more  food,  while  Buonafede,  wearing  black 
cape  over  white  leads  to  the  table  a  famished  man  half  clad  in  tattered 
garments.  To  the  right  are  two  stewards  with  loaves  of  bread,  which  are 
being  distributed  to  poor  men  and  women  by  a  stately  official  clad  in  a 


Fig.  127. — Feeding  the  Hungry. 


172 


BENEDETTO  AND  SANTI  BUGLIONI 


blue  tunic  and  black  gown.     The  woman's  face  and  kerchief  recall  Bene- 
detto Buglioni's  Madonna  of  1520. 
7.  Giving  Drink  to  the  Thirsty  (Fig.  128). 

It  may  be  noted  that  in  this  panel  another  substance,  stucco,  has  replaced 
terra-cotta,  that  the  panel  is  painted  not  glazed,  that  the  composition  is 
more  crowded,  the  types  more  Raphaelesque,  and  that  the  central  figure  is 
no  longer  the  beardless  Buonafede  but  a  bearded  figure,  probably  the  spe- 
dalingo  Bartolommeo  Montechiari. 

Tigri  in  1838  had  noted  the  existence  of  documents  which  Contrucci 


Fig.  128. — Giving  Drink  to  the  Thirsty. 


published  in  1835  giving  credit  to  Filippo  di  Lorenzo  Paladini,  a  Pistoian 

painter  for  the  completion  of  the  frieze.     The  documents  as  he  published 

them  are  as  follows : 

"A  di  Febbr.  1584.     A  Maestro  di  Lorenzo  Paladini  per  figure       L  21 

A  di  14  Maggio  1584.     A  Fillippo  di  Lorenzo  Paladini  dipintore 

pistoiese  L7  a  conto  di  figure. 

A  di  16  Giugno  1584.    A  detto  Maestro  Filippo  a  conto  di  figure  L  12 

A  di  II   Marzo  1586.     A  Maestro  FiHppo  di  Lorenzo  Paladini  L   14  a 

conti  di  figure. 

A  di  2  Agosto  1586.     A  Maestro  Filippo  Paladino  deve  avere  scudi  12 

M  P  Se  gli  fanno  buoni  per  sua  f attura  di  figure  al  tempo  di  Bartolommeo 

Montechiari  per  finire  il  Fregio  della  Loggia." 

The  Libro  Rosso,  segnato  G,  from  which  items  are  said  to  have  been 
taken  is  now  said  to  be  lost,  but  Mr.  Rufus  G.  Mather  has  copied  corre- 
sponding items  from  the  Entrata  e  Uscita,  segnato  G  1 583-1 586  and  H, 
1 586-1 588  (Docs.  14-18).  These  indicate  that  Filippo  di  Lorenzo  Paladini, 
painter,  received  payment  for  figures  representing  Saints  (five  are  specified, 
S.  Giovanni  Battista,  S.  Girolamo,  S.  Pietro  Martire,  SS.  Cosmo  e  Dami- 


BENEDETTO  AND  SANTI  BUGLIONI 


173 


ano)  painted  on  tablets  set  above  the  bed  heads  (three  of  these  tablets  were 
made  by  Giovanni  Michele,  carpenter). 

No  mention. is  made  in  the  records  which  survive  concerning  the  com- 
pletion of  the  frieze.  The  stucco  panel  may  well  have  been  executed  in 
the  year  1585 — as  inscribed  on  the  frieze  itself — but  surviving  records  do 
not  confirm  the  statement  of  Contrucci  that  it  was  made  by  Filippo  di 
Lorenzo  Paladini. 

A  comparison  of  Alinari's  photographs  10268-10270  with  Brogi's  4560 
will  show  that  the  panel  was  recoloured  in  recent  years  without  regard  to 
pre-existing  schemes  of  colour. 

8.  The  Virtues  (Figs.  129-133). 

On  the  fagade  between  the  Lodging  of  Strangers  and  Visiting  the  Sick 
is  a  figure  of  Prudence  (Fig.  129),  double  faced,  holding  a  mirror  and  a 


Fig.  129. — Prudence. 


Fig.  130. — Faith. 


Fig.  131. — Charity. 


snake,  wearing  a  yellow  scallopped,  polygonal  nimbus,  a  yellow  robe  and 
mantle  of  blue  lined  green,  standing  against  a  violet  background.  Be- 
tween the  Visiting  the  Sick  and  Visiting  Prisoners  is  a  figure  of  Faith 
(Fig.  130),  with  yellow  polygonal  nimbus,  holding  a  yellow  chalice  and  a 


Fig.  132. — Hope. 


Fig.  133. — Justice. 


cross  of  violet  and  yellow,  clad  in  light  blue  with  mantle  of  white  lined 
green,  standing  against  a  blue  background. 

Between  Visiting  Prisoners  and  Burying  the  Dead  is  Charity   (Fig. 


174 


BENEDETTO  AND  SANTI  BUGLIONI 


131),  with  no  nimbus,  a  white  kerchief  on  her  head,  robed  in  blue  with 
mantle  of  violet  lined  green,  carrying  a  nude  child  with  another  standing  at 
her  feet,  all  against  a  green  background.  Between  the  Burying  of  the 
Dead  and  Feeding  the  Hungry  is  Hope  (Fig.  132),  with  polygonal  nim- 
bus, folded  hands,  and  green  mantle  against  a  blue  background.  It  may 
be  recalled  that  in  1515  Benedetto  Buglioni  made  figures  of  Charity  and 
Hope  for  the  festival  in  honor  of  Leo  X.  Between  the  reliefs  of  the 
Hungry  and  the  Thirsty  is  Justice  (Fig.  133),  holding  a  sword  and  a 
tassel  for  pendent  scales,  in  armour  of  light  blue  (steel)  ornamented  with 
yellow  (gold),  and  a  cloak  of  blue  lined  green,  against  a  white  background. 

The  flesh  in  all  cases  is  left  unglazed. 
9.  The  Sirens  (Fig.  134)- 

At  each  angle  of  the  fagade  is  a  siren  with  outstretched  arms,  baggy 
breasts,  and  polychromatic  wings.  Large  green  leaves  cover  in  part  her 
arms,  breast,  and  legs.     The  long  feathers  of  her  wings  are  individually 


Fig.  134. — Siren  and  Stemma. 


coloured,  blue,  green,  white,  violet,  yellow, — not  striped  transversely  as 
Giovanni  della  Robbia  would  have  painted  them.  She  supports  between 
her  legs  a  late  Tuscan  shield  with  apex  rolled  forward,  angles  and  sides 
scallopped,  bearing  the  Ceppo  insignia;  a  ceppo  or  group  of  tree  trunks, 
cut  down,  but  sprouting  anew.  They  are  coloured,  natural  against  a  yel- 
low field. 
10.  The  Pilasters  (Fig.  135). 

These  occur  in  two  forms :  ( i )  those  adorned  with  fruit  garlands ;  and 
(2)  those  with  vases  containing  a  floral  pattern.     The  pilasters  with  fruit 


BENEDETTO  AND  SANTI  BUGLIONI  175 

garlands  are  four  in  number  and  occur  as  terminal  pilasters  on  the  facade 
or  adjoining  the  short  sides.  The  garlands  are  pendent,  and  consist  of 
triplex  bunches  of  fruit  in  very  high  relief  interspersed  with  flowers  and 
wheat  and  separated  by  transverse,  fluttering  ribbons.  The  capitals  are 
adorned  with  masks  of  Pan. 

The  second  type  of  pilasters,  used  here  fourteen  times,  show  a  slender, 
graceful,  two  handled  vase  from  which  rise  stems  with  flowers  and  wheat, 


135. — Pilasters. 


and  a  terminal  anthemion  set  against  a  blue  background.  The  slender  vase 
must  have  been  favoured  by  Leonardo  Buonafede,  since  it  occurs  in  an 
altarpiece  he  gave  to  Badia  Tedalda,  on  a  ciborio  he  gave  to  the  church 
at  Stia,  as  well  as  on  the  ciborio  at  Bolsena  presented  by  his  patron  Leo  X. 
The  capitals  are  heavily  decorated  with  acanthus  leaves  out  of  which  rises 
a  human  head. 

Documents : — [Copied  by  Mr.  Rufus  G.  Mather.] 

I.  "Dicta  die  (XXIIIJ  febbruarij  15 12) 

Reverendus  jn  xpo  pr (pater)  dnus  leonardus  ol(im)  johannjs  bonafidej 
de  floretia  ad  psens  rector  et  gubernator  hospitalis  see  marje  pauporu  ceppj 
de  pistorio  p(ro)  se  et  subcessoribus  suis  jn  dicto  hospitalj  et  pdicto  hos- 
pital j  lochavit  et  concessit  ad  faciendu  et  fierj  faciendu  et  p(er)ficiendu 
p(ro)  dicto  hospitalj  ceppj  franc"  masij  papj  de  santo  martino  a  mensola 
comunitatis  floretie  habitur  nunc  pistorij  presentj  et  coducentj  otto  cholonne 


176  BENEDETTO  AND  SANTI  BUGLIONI 

CO  base  et  chapitellj  intagliatj  et  seu  foratj  a  coparatione  de  chapitellj  delle 
cholopne  della  virgine  marja  del  ponte  a  san  lorenzo  dj  lunghezza  dj  brac- 
cia  cinque  et  mezzo  el  fiiso  grossa  decte  cholone  da  pie  tre  quartj  di  braccio 
am  j  sura  di  pistoia  et  altezza  del  basa  et  chapitello  uno  brace  jo  et  mezzo 
Con  archj  di  pietra  recte  pietre  serene  con  architravato  dj  fuore  daltezza 
duno  mezzo  braccjo  secodo  uno  disegno  facto  p(er)  batista  di  gerjno  legnai- 
uolo  et  al  disotto  di  dectj  archj  dj  lunghezza  dua  terzj  di  braccio  et  grosse 
uno  sexto  dj  braccjo  che  sono  archj  nove  et  otto  peduccj  a  raguaglio  de 
chapitellj  di  decte  cholopne  tucte  facte  et  lavorate  poste  a  pistoia  a  tucte  sue 
spese  et  questo  fece  decto  franc"  quod  dictus  dnus  leonardus  noe  (nomine) 
dictj  hospitalis  dare  et  solvere  p(ro)mjsit  eide  franc"  p(ro)dicto  laborer  jo 
florenos  centii  aurj  jnauro  larghos  eide  dare  de  tempore  jn  tempus  p(ro)ut 
de  mano  jn  mano  dabit  et  portabit  dictas  pietras  et  cholupnas  laboratas 

Et  ultra  predicta  p(ro)mjsit  dictus  franciscus  dare  et  portare  dicto  hos- 
pitalj  tuctj  liavanzatj  andranno  jntorno  alia  volta  sop(r)a  decte  cholupne 
benj  lavoratj  secodo  il  djsegnjo  dj  larghezza  dj  braccjo  mezzo  et  gross  j  uno 
terzo  di  braccjo  con  larchitrave  di  sotto  larghj  uno  terzo  di  braccjo  et 
grossj  uno  quarto  dj  braccio  et  ricjnghino  tucta  la  volta  et  questo  p(er) 
pregio  et  prezzo  di  lire  tre  p(ro)  qualiique  braccio  chosj  di  detj  avanzatj 
chome  dela  relatione  mjsvratj  u"(una)  volta  a  brace  j  andantj  jntendendo 
u"  braccjo  davazato  et  uno  braccjo  darchitrave  dicte  dua  braccja  p(er) 
uno  braccjo  a  braccja  andatj  a  lib.  3  chome  a  decto  et  p(er)  quello  che 
paghera  decta  mjsura  et  a  solvere  p(ro)mjsit  dictus  dnus  leonardus  de 
tepore  jn  tempus  et  de  mano  jn  mano  p(ro)ut  dabit  laborer jum  p(re) 
dictii  cum  pacto  q(uod)  dictus  franciscus  debeat  omnibus  suis  sumptibus 
dare  et  cosignare  dicto  hospital  j  dictas  cholupnas  et  laborer  jum  p(re)dictu 
hinc  et  p(er)  tote  mensem  settembris  p(ro)xime  future  et  debeant  esse 
pietre  serene  et  bene  laboratCi  et  p(er)fectu  addeclaratione  batiste  gerjnj 
carpentarjo  de  pistorio  jn  quos  comjserunt  arbitrametu  et  declaratione 
p( re)  dicta  etc. 

Que  omnia  etc  sub  pena  duplj  p(re)cij  p( re)  dictj  etc  obbligantes  hinc 
jnde  et  bona  dictj  hospitalis  etc  nonostantes  etc  cu  quarantigia  rogantes  etc 
actu  pistorij  jn  cappella  see  marje  majoris  alius  de  chavalierj  jn  dicto  hos- 
pitalj  p(re)sentibus  franc"  silvestrj  pauluccj  et  piero  mechinj  bottarjo  de 
pistorio  testibus  etc." 

[Archivio  di  Stato  Rogiti  di  Ser  Lorenzo  Bellucci  di  Pistoia,  Protocolli 
del  1 5 12,  segnato  Notai  B  1123  a  c.  105*.] 

There  is  a  variant  of  this  written  by  the  same  notary  in  B  1108  c.  429*. 
Protocolli  1508-1513. 

2.  "Yhs  MDXVr 

Spedale  di  sancta  m*  delceppo  di  pistoia  de  dare  adj 


BENEDETTO  AND  SANTI  BUGLIONI  177 

xj  di  luglio  1516 


1517   • 


E  adj  XX  di  settembre  15 17  1  otto  sol.  x  p(iccioli)  p(er) 

lib(r)e  cento  di  piombo  p(er)   .  .  .  vettorale  che  s(er)vi 

all  murarela  el  portico  et  loggia  di  detto  sp"(spedale) 

da  lorenzo  da  mdtauto  apare  alonpichato  a  suo  coto  c  210    f  1  .4  4I 

E  adi  xviiii"  di  gennaio  1  otto  sol  xv  p(iccioli)  p(er) 

lib(r)e  100  di  pionbo  levato  da  lorenzo  da  m°  auto  apare 

alonpichato  a  suo  coto  e  m°(mandato)  a  pistoia 

p(er)  coto  della  muraglia  al  porticho  apare  al  g" 

di  q(ue)sto  lib(r)o  c  278 f  1  -5 — 1 


E  adj  xxvij  di  febraio  1  sette  p(iccioli)  p(er)  loro  a 

raffaello  di  maso  da  sco  m°  a  mesola 

scharpellino  p(or)to  cotte  p(er)  coto  delavoro 
p(er)  detto  luogo  a  v^  —  f  1  —  1  —  " 

[Arch,  del  R.  Arcispedale  di  S.  Maria  Nuova,  Libro 
Giallo  F,  1516-1518,  a  c.  128.] 

3.  "+Adi  6  di  setenbre  1526 

A iscutore  lib.  quatordici  sol  5 

di  m"(moneta)  fiorentina  p(or)to  Alexandro  astesi(?) 

disse  gli  dette  a  m.  lonardo  buonafe  che 

disse  gliena  dati  al  d°  (detto)  Abo  (a  libro)  163  lib.  14  sol  5 

[Archivio  del  R.  Ospedale  del  Ceppo,  Entrata  e  Uscita,  1 526-1 527, 
c.  37-] 

4.  "+yhs  Mdxxvj"  "+yhs  Mdxxvj" 
Santj  di  Michele  buglioni  ischultore  santj  di  Michele  dichontro 
de  dare  fino  adj  9  di  settembre  de  av(er)e  p°(posto)  dare 
1  quatordici  sol  cinque  plj(picciolj)  all(i)b(ro)  h  c.  114 
p(or)to  alessandro  a  firenze  chontanti  I205  s  i  — " 
disse  che  Ij  deve  a  m(esser)  L**"  no 

Magore  a  u° (uscita)  c  37         1  14  s  5 - 
e  adj  xviiij  di  nov(en)bre  1 

veti  otto  p(or)to  chontanti  a  u'  c.  43 

I28 


178  BENEDETTO  AND  SANTI  BUGLIONI 

e  adj  xvij  di  decembre  1  una 

sol.  XV  p(er)  luj  a  •   lorenzo 

da  s  donino 

p(or)to  chontanti  a  u"     c.  45     1    i   s  15 
1527  e  adj  xii  di  gennaio  1  vetiotto 

p(or)to  chontanti  a  u     c.  47    1  28 

e  adj  V  di  feb(r)aio  1  una 

sol.  10  p(er)  luj  lazero  chom- 

esso  p(ort)o  chont  a  u"  c.  48    1    is  10- 

e  adj  XX j  detto  1  sette  po(rto) 

chont  a  u'  c.  50     1    7 

e  adj  II  di  marzo  1  vetiuna 

p(ort)o  chont  a  u"  c.  51     I21 

e  adj  xxiii  detto  1  quatordici 

p(ort)o   chont   a   u"        c.  53     1  14 —     - 

e  adj  vi  dap(r)le  1  quatordicj 

p(ort)o  chont  a  u*         c.  54     1  14  — 

e  adj  xvj  detto  1  vetiuna 

p(ort)o  chont  a  u'         c.   55     I21  — 

e  adj  xxij  dap(ri)le  1  vetiuna 

p(ort)o  chontanti  a  u*    c.   56     1  21  — 

e  adj  iiii"  di  Maggio  st(aia) 

2  di  g°(grano)  da(?)  luj  104- 

117  1    8  s 12- 

e  adj  xviii  detto  1  tre  s  xviiii" 

al  q'°(quadernuccio)  27  a  u' 

c.  58     13s  19- 

e  adj  xxv  detto  1  quatordicj 

p(ort)o  chont  a  u"      c.  59     1  14  s  — 

e  adj  xiiii"  di  gugnio  1  sette 

pto  chont  a  u"  c.  62     1    7  s  -  " 

[Archivio  del  R.  Ospedale  del  Ceppo,  Libro 
del  Provveditore  G  (modern  No.  1039),  1526- 
1527,  c.  163.] 

5.         "+yhs  Mdxxvij  +yhs  Mdxxvij 

Santtj  di  Michele  ischultore  de  Santj  dichontro  de 

dare  p(er)   uno  suo  chonto  al  av(er)e  p(er)  tantj  p" 

G  113                                          I205  SI-  (posto)   do(detto) 

e  adj  vj  di  lugHo  1  q(u)atordici  alibro  I  no 14I3  9- 

p(ort)o  chontanti  a  u"    c.  30     1 14  — 


BENEDETTO  AND  SANTI  BUGLIONI 


179 


E  adj  xxiii  detto  1  vetiq(u)- 

atro  p(ort)o  chont  a  u"  c.  31     1  24  — 

E  adi  xxiiii  detto  1  dieci 

p(ort)o  chont  a  u"         c.  32     1  10 

e  adj  vj  daghosto  1  sette 

p(ort)o  chont  a  u"         c.  33 

e  adj  xiii  detto  1  due  s  otto 

p(er)  luj  il  ghnrri(?)  p(ort)o 

chont  sono  p(er)  s(some)  4  di  terra 

r°(rech6)  dadarnno  a  u*  c.  33     1  2  s  8 

e  adj  xxviii  detto  1  q(u)at- 

ordicj  p(ort)o  chont  a  u'  c.  35  1  14  — 

e  adj  8  settembre  chontanti   1 

sette  p(ort)o  chont  a  u"  c.  37 

e  adj  xxviii  detto  1  sette 

p(ort)o  chont  a  u'         c.  39 

e  adj  xii  dottobre  1  sette 

p(ort)o  chont  a  u  c.  40 

e  adj  8  novenbre  1  sette  p(ort)o 

a  u*  c.  42 

e  de  dare  adi  29  di  dt" 

1  quatordici  an*  c.  44     1  14  — 

e  1  8  ph  fati  buonj  alospedale 

di  s  m'  n"  di  firenze  e 

p(er)  luj  pacho  a  bro(bernar- 
do) 

ghurrj(?)   chome  disse  alemo- 

sche  posto  al(i)b(r)o  giallo 

c.  348     1    8  — 
e  de  dare  adj  31  di  gennaio  1 10 

p(er)  ist(aia)  2  di  g°(grano) 

84  180  1  10  — 

e  de  dare  adi  20  di  dicenbre 

1  vetuna  p(or)to  contati  a  u" 

c.  45     I21  — 

e  adi  25  di  dtt"  1  sette  pto 

contati  a  u'  —        c.  49     1    7  — 

e  adj  p°  di  febraio  1  quatodici 


i8o  BENEDETTO  AND  SANTI  BUGLIONI 

pto  a  u"  c.  49     1  14  — 

e  de  dare  1  35  p(er)  5  chataste 
di  legna  ante  da  q^questa) 
chasa  di  faggio  —  1  35 

[Arch,  idem,  Libro  del  Provveditore  H 
1527-1528,  c.  114.] 

6.     "Adi  6  di  liiglio  U  abato 
A  santi  di  michele  ischultore 
1  quatodicj  p(or)to  Ini  (1°  contanti 

(A  libro  H)    114  I14— " 

[Arch,  idem,  Entrata  e  Uscita,  (Modern  No 
1040)  1 527-1 528,  c.  30.] 

7.  "Adi  13  di  detto   (ogosto  1527) 
A  santi  ischultore  1  dua  s  8  p(er)  4  some 

di  ter(r)a  r''(recho)  el  ghurri(?)  da  arrno  porto 

lui  dX detto)  c.  114 1  2.8 

[Idem,  idem,  H.,  1527-1528,  c.  33'.] 

8.  "  +  yhs  MDXXVIJ 

Spedale  di  santa  maria  del  ceppo  di  pistoia  de  dare 


E  de  dare  addi  XX  dicebre  1527  1  otto  piccioli  fannocj 
buonj  p(eT)  santj  di  michele  schultore  sono  p(er)  terra 
madatagli  p(er)  suo  choto  alle  mosche  porto  batteo 
di  marcho  da  mote  spertolj  p(er)  loro  da  messer  Ido 
buonafe  n°  (nostro)  maggiore  creditore  In  questo  ac  66        f  i   soldi  2.   10" 
[Archivio  del  R.  Arcispedale  di  S.  Maria  Nuova,  Libro  Azzurro,  1526- 
1534,  segnato  K  c.  52.    Milanesi,  Misc.  41  III  P  c.  227*  records  the  above 
documents  thus : 

1^2/.  Spedale  di  S.  Maria  del  Ceppo  di  Pistoia.  E  de  dare  adi  xx  di 
dicembre  152'/  £  otto  piccioli  fannovi  huonie  per  Santi  di  Michele  scul- 
tore,  sono  per  terra  mandata  per  suo  chonto  alle  Mosche.] 

9.  "+  yhs  MDXXVIJ 

Messer  Lionardo  di  giovanni  buonafe  no  maggiore  dt  avere   .... 


Et  addj  XX  di  dicenbre  1  otto  piccioli  p(er)  santi  di  b"""  (perhaps 
intended  for  b"*  for  buglione)  schultore  p(er)  coto  del  ceppo  di 


BENEDETTO  AND  SANTI  BUGLIONI 


i8i 


pistoia  debitore  In  questo  ac  52  f  i  soldi  2.10' 
[Idem,  idem  K,  c.  LXVJ.] 


10.  "+  yhs  MDXXVIIJ 

Santtj  di  michele  schultore 
de  dare  1  413.9  p(er)  u  suo 
chonto  al(i)b(r)o  s(egnato)  I 
(should  be  h)  c  114      —       I413  s  9- 

[Archiv.  del  R.  Ospedale  del  Ceppo. 
1529,  c.  no.] 


"+  yhs  MDXXVIIJ 
Santj  di  chotro  de 
a(ver)e  p(er)  tatj  p°  dare 
alib(ro)   s°  K  c      1  413—9—" 

Libro  del  Provveditore  I,  1528- 


II.  "+  yhs  MDXXVIIIJ 

Santj  di  michele  schultore 
de  dare  p(er)  uno  suo  choto 
alib(r)o  I  c.   no  1 413       9 

[Archiv.  idem,  Libro  del  Provveditore  K,  1 529-1 530,  c.   105.] 


12.  "+  yhs  m"^  MDXXXIIIJ 

R(icordo)  Santj  dj  michele  schultore  de 
dare  p(er)  tantj  posto  debbj  avere 
i  q°  c  25  p(er)  resto  di  quel 

chonto 25     f-1  2.  o,  1 1 

p'  20^  capponi" 


"+  yhs  m^  MDXXXIIIJ 
Santj  dj  michele  dichonttro 
de  avere  addj  5  di  settembro 
1  tre  s  X  pli  TC"  (Reco)  g' 
alb(er)tjnj  contanti  aentrata 
S*"  97  M  f-1  3.  10" 

E  addj  27  dottobre  1  iij 
s  X  R""  g'  albertjnj  contanti 
antrata  loi  f-1  3.  10" 

[Arch,  del  R.  Ospedale  di  S.  Maria  Nuova,  Libro  Fitti  e  Livelli  E.  1532- 
1551C.  i44eCXLIIIJ.] 

13.  "+  MDLXXXIIIJ 
Mercholedi  adi  p°  di  febbraio 

A  m"  Filippo  di  lorenzo  paladini  Pitt"  1  ventuna 
piccioli  porto  contanti  detto  aconto  delle  fig" 
alibro  Rosso  B  c  56  f  3-" 

[Archivio  del  R.  Ospedale  del  Ceppo  di  Pistoia,  Entrata  e  Uscita  G, 
(modern  No.  1039),  1583- 1586,  c.  94.] 

14.  "+  MDLXXXIIIJ 
Lunedi  adi  14  di  Maggio 

A  filippo  del  libraio  pitt"  1  sette  piccioli 
porto  contanti  detto  aconto  di  figure 
alibro  Rosso  B  c  56  f  i-" 

[Idem,  idem,  c.  loi*.] 


i82  BENEDETTO  AND  SANTI  BUGLIONI 

15.  "+  MDLXXXIIIJ 
Sabato  adi  16  detto  (Giugnio) 

A  m°  filippo  del  libraio  i  dodici  piccioli  porto 

contanti  detto  aconto  delle  figure — alibro  Rosso  B  c  56  f  1.5-" 

[Idem,  idem,  c.  103*.] 

16.  "+  MDLXXXVJ 
Sabato  adi  22  di  Maggio 

A  m"  filippo  del  libraio  dipint"  1  quattro 
piccioli  porto  giova'  michele  leg'"  (legnaiiiolo)  di  suo 
consenso  per  aconto  di  tre  tavolette  per  le  letta 
di  capi  rotti — alibro  Rosso  c  56  f-4 — " 

[Idem,  idem,  c.  137*.] 

17.  "Sabato  adi  2  di  agosto  1586. 

A  m°  filippo  di  lor^°  dipintore  lire  diciotto  porto 

lui  contanti  p(er)  resto  di  quattro  figure  fatte  p(er)  sopra  le  letta 

che  mancavano  et  sono  queste  u(no)  s.  giovanni  bat" 

u(no)  S.  Hyer""  un  s.  pier  martire  et  san  cosimo  et  s. 

Damiano  p(er)  u(no)  scudo  luna  chosi  costorno 

le  altre — alibro  Rosso  B  c  56  f  2.4 — " 

[Idem,  Entrata  e  Uscita  H  (modern  No.  1040),  1 586-1588  c.  41.] 

Bibl. : 

B-J.,  83-87;  B.,  Kf.,  25;  Bombe,  B-Th.  Lex.,  s.v.  Buglioni; 
Burckh.,  II,  436;  A.  S.  A.,  II  (1889),  2;  Burl.,  70-71 ;  C-M.,  125-156, 
243  No.  235  ;  Contrucci,  Mon.  rohhiano,  Prato,  1835  ;  Cr.,  244-251,  330; 
Gas.  B.  A.,  XXXI  (1904),  26-53,  140-148;  Didron  Ann.  Arch.,  1861, 
I95ff. ;  Foville,  120-124;  Giglioli,  87-94;  Labarte,  IV,  438;  M.,  Sc. 
Mag.,  1893,  690-692;  Brickh.,  Nov.  1902,  222-224;  A.  J.  A.,  XXII 
(1918),  367-377  (Doc.) ;  XXIV  (1920),  269-270;  G.  d.  R.,  223-224; 
R.  G.  M.,  UArte,  XXI  (1918),  195-196  (Doc);  Melani,  Sc.  ltd., 
135;  Michel,  IV,  127-128;  Perkins,  T.  Sc,  I,  198;  H.  H.,  143;  R., 
D.  R.,  260-271;  Sc.  FL,  IV,  64-65;  S.,  144-147;  Tigri,  10;  Tolomei, 
83;  Vas.,  II,  197. 

191  MADONNA  CROWNED  BY  ANGELS.  Lama  (near  Citta  di 
Castello).  Church.  Round-headed  altarpiece.  H.,  1.62m.;  W., 
0.89m.     Photo.,  Private. 


BENEDETTO  AND  SANTI  BUGLIONI 


183 


The  Madonna,  clad  in  a  maroon  tunic  with  a  V-shaped  pectoral  orna- 
ment (green,  edged  yellow  displaying  a  white  cherub  head),  and  a  mantle 
of  blue  lined  green,  is  seated  on  a  yellow-backed  throne  holding  in  her  lap 
a  draped  Child  who  carries  a  bird.  Overhead  two  angels  hold  a  yellow 
crown  above  the  Madonna's  head.     Nudes  unglazed  (Fig.  136). 


F:g.  1.3O. — ^Iauoxna  Exthroxed,  La.ma. 


Predella,  plain  blue  band  between  egg  and  dart  and  cyma  mouldings. 
Frame,  egg  and  dart  moulding. 

Bibl. : 

Burl.,  115;  Cr.,  345;  M.,  Sc.  Mag.,  1893,  694. 


i84  BENEDETTO  AND  SANTI  BUGLIONI 

192     THE  GARDEN  OF  GETHSEMANE.     Florence.     Palazzo  Bour- 
tourlin  (formerly).     Altarpiece,  round-headed. 

Christ  is  on  his  knees  in  the  agony  of  prayer,  an  angel  holds  a  cross  be- 
fore him  (Fig.  137).  Behind  him  is  a  vision  of  Judas  and  others  ready  to 
betray  him.    In  the  foreground  of  the  rocky  garden  sleeping  are  S.  Pietro 


Fig.  137. — Gethsemane,  Florence. 

reclining,  his  head  supported  by  one  hand,  S.  Jacopo,  holding  up  his  head 
with  both  hands,  and  S.  Giovanni,  resting  his  head  on  his  hands  above  a 
book.     Polychromatic. 

The  frame  has  pilasters  with  garlands  in  triplex  bunches  of  fruit,  flow- 
ers, and  wheat  hanging  from  rings.  Coats  of  arms  on  the  capitals.  The 
archivolt  is  similarly  decorated,  but  shows  at  the  apex  a  mask  of  Pan. 

193     MASK  AND  TROPHIES.    Florence.     Bardini  Collection  (former- 
ly).    Rectangular.     Photo.,  Private. 

On  this  relief  may  be  seen  a  winged  mask,  a  high  pitcher  and  decorative 
details  which  suggest  Tribolo  and  the  works  of  Santi  Buglioni. 


1530-end 


1530 — end 


194     MADONNA    ENTHRONED    WITH    SAINTS.      1531.      Stia 
Oratorio  della  Madonna  del  Ponte.    Altarpiece.    Photo.,  Alinari,  9807. 

The  Madonna  of  Stia,  seated  on  a  yellow  throne,  clad  in  maroon  with 
mantle  of  blue  lined  green,  holds  on  her  lap  the  lightly  draped  Child  (Fig. 
138).  In  type  she  is  not  far  removed  from  the  Virtues  of  the  Pistoia 
frieze.    The  throne  rests  on  a  stepped  base  inscribed : 

+   ORA- 

PRO  A  NOBI(S)  A 

•SANCTA    DEI- 

• GENETRIX  • 

•A(NNO)-  D(OMINI)-  MDXXXI  A 
To  the  left  stands  S.  Rocco  in  a  jacket  of  blue  lined  yellow,  cloak  of  ma- 
roon lined  green,  yellow  close  fitting  trousers  or  stockings,  and  buskins  of 
yellow  lined  blue.  A  feathered  hat  over  his  shoulder,  a  yellow  alpine  staff 
in  his  left  hand,  a  wound  on  his  right  leg.  To  the  right  is  the  slender, 
golden-haired  S.  Sebastiano  wearing  a  white  loin  cloth  striped  yellow. 
He  is  fastened  by  ropes  against  a  tree  trunk.    All  flesh  glazed  white. 

The  frame  has  low  predella  (set  upside  down),  pilasters  with  pendent 
fruit  hanging  from  rings  in  triplex  bunches  fastened  by  fluttering  ribbons, 
capitals  of  the  Empoli  type,  and  an  entablature  with  frieze  of  delicate  scroll 
work  with  vases,  cornucopias,  masks,  birds,  and  animals. 

Bibl. : 

Beni,  148;  C-M.,  249  No.  278;  Cr.,  356. 

195     THE  STIA  CIBORIO.    c.  1531.    Stia.    Chiesa  Plebana,  L'Assunta. 
H.,  2.30m. ;  W.,  0.87m,     Photo.,  Alinari,  9806. 

The  Stia  Ciborio  was  doubtless  a  gift  from  Bishop  Leonardo  di  Gior 
vanni  Buonafede,  as  the  console  bears  his  stemma:  Or,  a  bull  passant 
gules  on  a  mount  of  six  tops  vert  (Fig.  139).  It  would  appear  to  have 
come  from  the  same  atelier  as  the  altarpiece  in  the  Oratorio  della  Madonna 
del  Ponte,  and,  if  we  may  judge  from  its  frieze,  of  the  same  date,  1531. 


i88 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  138. — Madonna  and  Saints,  Stia. 

The  central  relief  is  more  advanced  in  style  than  the  ciborio  at  Bolsena. 
The  angels  issuing  from  the  lateral  arches  are  increased  in  number,  and 
engaged  columns  take  the  place  of  pilasters.  Outside  of  this  are  pilasters 
ornamented  with  slender  white  vases  bearing  flaming  incense  against  a 
blue  background;  entablature  with  frieze  of  vases,  cornucopias,  masks  and 
animals,  white  against  blue;  and  lunette  with  large  yellow  chalice  between 
two  cherub  heads — all  showing  the  influence  of  Desiderio  da  Settignano. 
Formerly  surrounded  also  by  a  fruit  garland,  of  which  fragments  remain. 

Bibl. : 

Beni,  148;  Cr.,  356;  M.,  R.  H.,  2S6  Fig.  258. 


196  MADONNA  ENTHRONED  AND  SAINTS^  Camerino.  Chiesa 
dei  Cappuccini.  Altarpiece,  round-headed.  H.,  2.56m.;  W.,  2.18m. 
Photo,  Private. 


BENEDETTO  AND  SANTI  BUGLIONI 


189 


Fig.  139. — The  Stia  Ciborio. 


The  Madonna,  robed  in  violet  edged  yellow  with  a  mantle  of  blue  lined 
green,  carries  a  nude  unglazed  Child.  Her  throne  is  set  on  a  two  stepped 
base,  imitating  porphyry.  To  the  left  is  S.  Francesco,  in  gray  habit,  with 
book  and  yellow  cross ;  to  the  right  is  S.  Agnese,  in  violet  robe  edged  yellow 
and  mantle  of  green  lined  blue,  carrying  a  white  lamb.  Faces  and  hands 
unglazed.     Above  are  two  angels  robed  in  blue  and  green,  holding  a  yel- 


190  BENEDETTO  AND  SANTI  BUGLIONI 

low  crown  over  the  Madonna's  head.  Higher  still  is  a  white  Dove  in  the 
midst  of  yellow  rays.    At  each  side  is  a  green  curtain. 

The  predella  shows  at  each  end  the  monogram  of  Jesus,  and  reliefs 
of:  (i)  S.  Francesco  receiving  the  stigmata;  (2)  the  Deposition;  and 
(3)  the  Martyrdom  of  S.  Agnese.  The  pilasters  are  alternately  violet  and 
green,  the  lower  moulding  a  cyma  reversa,  the  upper  one  an  egg  and  dart. 

The  frame  shows  symbols  of  the  passion,  kiss  of  Judas,  cock  on  column 
and  stripes,  Peter  and  the  maid  servant,  lance,  sponge  and  lantern,  hand 
counting  and  receiving  money,  the  ear  of  Malchus,  Pilate's  hands  washed, 
the  cross,  hammer,  tweezers,  dice,  spear  and  sponge,  crown  of  thorns,  nails, 
Veronica's  handkerchief. 

The  Cappuccini  monastery  at  Camerino  was  founded  by  Matteo  da  Basci 
about  1530.  In  composition  and  types  this  altarpiece  may  be  classed  with 
that  in  the  Oratorio  della  Madonna  del  Ponte  at  Stia  (1531).  The  in- 
fluence of  Giovanni  della  Robbia's  altarpiece  at  Lamporecchio  (1524)  is 
manifest.  Santi  Buglioni  employed  the  symbols  of  the  Passion  in  one  of 
his  altarpieces  at  Croce  dell'Alpe  (1553). 

Bibl. : 

Anselmi,  L'ltalia  artist,  industr.,  I  (1894-1895),  170-172;  A.  e  S., 
XIII  (1894),  178;  Guasti,  Cafaggiolo,  156-157;  Santoni,  A^.  Riv.  Mi- 
sena,  I,  35-37. 

197  ECCE  AGNUS  DEI.  Bibbiena.  S.  Maria  del  Sasso.  Rectangular 
altarpiece.  H.,  1.78m.;  W.,  2.10m.  Photos.,  Alinari,  9774;  Ago- 
stini,  600. 

In  a  polychromatic  landscape,  brown  rocks,  green  trees,  flowering  plants, 
lizards,  squirrel,  stands  S.  Giovanni  Battista  in  brown  hair  cloth,  holding 
a  scroll  inscribed  ECCE  AGNVS  D(EI)  and  pointing  to  Christ  who  is 
robed  in  maroon  edged  yellow,  with  mantle  of  blue  lined  green  (Fig.  140). 
An  arched  moulding  produces  spandrels  in  which  are  medallions  of  S. 
Gabriele  and  the  Annunziata. 

The  principal  frame  is  a  replica  of  that  of  the  J.'  S.  Morgan  altarpiece 
(1502)  with  blue  backgrounds  for  the  pilasters  and  frieze. 

The  predella  shows  at  the  ends  the  Sestini  coats  of  arms :  Azure,  a  pair 
of  compasses  or  over  a  mount  of  six  tops  of  the  same.  Separated  by 
pilasters  with  grotteschi  are  the  (i)  Annunciation  to  Zacharias;  (2)  Birth 
and  Naming  of  the  Baptist;  and  (3)  the  Visitation. 

Bibl. : 

Beni,  327;  Burl.,  118;  C-M.,  255  No.  321 ;  Cr.,  334;  M.,  R.  H.,  253, 
Fig.  232. 


BENEDETTO  AND  SANTI  BUGLIONI 


191 


"^^i^^. 


i  K..    140. — Kcct    AgiN  US    Dti,    BlBBIENA. 

198  THE  ANNUNCIATION.  Bevagna  (near).  Chiesa  della  SS.  An- 
nimziata.  Round-headed  altarpiece.  H.,  4.20m. ;  W.,  2.50m.  Photo., 
Private. 


S.  Gabriele,  robed  in  white  with  mantle  of  yellow,  advances  embarrassed 
toward  the  Virgin,  who,  in  robe  of  red  (unglazed)  and  mantle  of  blue  lined 
green  and  on  her  head  a  white  kerchief  (glazed)  is  leaning  against  a  bed. 
Before  her  is  a  lectern  with  an  open  book  inscribed  Ecce  Virgo  concipiet 
et  pariet  filmm  (Is.  VII,  14).  Between  the  angel  and  the  Virgin  is  a  tall 
vase  of  roses  and  lilies;  over  which  is  a  white  Dove  in  crude  yellow  light 
proceeding  from  God  Father  in  a  glory  of  cherubs.  A  round  arched  win- 
dow in  the  background  (Fig.  141). 


192 


BENEDETTO  AND  SANTI  BUGLIONI 


The  predella,  divided  by  pilasters  with  grotteschi,  shows  rehefs:  (i)  The 
Visitation;  (2)  Jehovah  sends  forth  S.  Gabriele — a  scroll  inscribed  NON 
ENIM  PRO  TE  SED  PRO  OMNIB(VS)  HEC  LEX  CONSTITVTA 
EST;  (3)  The  Sposalizio;  (4)  The  Presentation  of  the  Virgin  in  the 
Temple;  (5)  The  Birth  of  the  Virgin. 

The  principal  frame  is  similar  to  that  of  the  Bibbiena  altarpiece  of  the 


Fig.  141. — The  Annunciation,  Bevagna. 

Ecce  Agnns  Dei,  except  for  the  lengthening  of  the  candelabrum  design  in 
the  pilasters.  In  the  lunette  is  a  Christ  in  the  Sepulchre  assisted  by  his 
mother  and  S.  Giovanni,  unglazed  except  the  blue  of  the  Virgin's  mantle, 
in  style  resembling  the  predella  relief  of  this  subject  at  Badia  Tedalda 
(15 16).  Outside  of  all  has  been  added  a  pendent  garland  of  fruit  and 
flowers. 


Bibl. 


Burl.,  113;  Guardabassi,  36;  Lazari,  43. 


BENEDETTO  AND  SANTI  BUGLIONI  193 

199  VAULT  OF  CUPOLA.  Bevagna.  S.  Francesco.  Cappella  dei  In- 
nocenti. 

Probably  by  the  author  of  the  Annunciation  altarpiece  in  the  Chiesa  della 
S.  Annunziata  near  Bevagna. 

In  the  centre' of  the  cupola  is  the  Holy  Dove.  From  the  centre  there 
radiate  eight  panels  ornamented  by  bunches  of  fruit,  arabesques,  symbols  of 
the  passion  and  coats  of  arms.  The  symbols  are:  (i)  S.  Veronica's 
handkerchief;  (2)  Tweezers  and  hammer;  (3)  Cock  on  a  column;  (4) 
Putti  with  dice;  (5)  Cross;  (6)  Spears  with  sponges;  (7)  Putti  with  crown 
of  thorns;  (8)  Scourges.  The  coats  of  arms  in  alternate  panels,  are  (i) 
a  lamb  with  a  cross  encircled  by  a  snake,  and  (2)  Two  arms  crossed,  a 
cross  between  them  (Fratres  Minores). 

We  may  recall  that  symbols  of  the  passion  in  the  pilasters  of  Giovanni 
della  Robbia's  Visitation  at  Lamporecchio  (1524)  ;  in  those  of  the  altar- 
piece  at  Camerino  (1531?);  and  in  the  predella  and  frame  of  the  two 
altars  at  Croce  dell'  Alpe  by  Santi  Buglioni  (1553). 

Bibl. : 

Guardabassi,  36. 

200  MADONNA  ENTHRONED  AND  SAINTS.  Chianti.  S.  Maria 
Novella.     Rectangular  altarpiece.     Photo.,  Private. 

The  Madonna  seated  on  a  throne,  carries  on  her  left  knee  the  nude 
Child  on  a  cushion  (Fig.  142).  The  pedestal  of  the  throne  appears  to 
have  been  inscribed  AVE  MARIA  GRATIA  PLENA.  To  the  left  stands 
S.  Pietro  with  keys  and  book,  and  S.  Lorenzo  with  gridiron  and  martyr's 
palm;  to  the  right  are  S.  Stefano,  in  deacon's  robe,  with  palm  and  book, 
and  S.  Paolo,  with  sword  and  book.    By  an  associate  of  Santi  Buglioni. 

The  predella  has  shields  for  coats  of  arms,  and  reliefs  of:  (i)  S.  Giro- 
lamo  with  stone  on  bared  breast;  (2)  Christ  in  sepulchre  supported  by  his 
mother  and  S.  Giovanni;  and  (3)   S.  Sebastiano.     Polychromatic. 

Principal  frame  has  pilasters  with  garlands  hanging  from  rings,  capi- 
tals and  entablature  like  those  of  the  altarpieces  at  Bibbiena  and  Bevagna. 

Bibl.  : 

Brogi,  Invent.,  430;  Cr.  354. 

201  S.  FRANCESCO  RECEIVES  THE  STIGMATA.  Citta  di  Cas- 
tello,  S.  Francesco.  Round-headed  altarpiece.  H.,  4.10m.;  W., 
2.55m.     Photo.,  Private. 


194 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  142. — Madonna  and  Saints,  Chianti. 

To  the  left  on  his  knees  is  Fra  Leo,  clad  in  grey,  with  rayed  nimbus ;  to 
the  right,  S.  Francesco,  also  in  grey,  kneeling  before  the  vision  of  Christ 
crucified  surrounded  by  cherubs  in  the  sky.  Citta  di  Castello(  ?),  a  walled 
city,  in  the  background,  the  mountains  La  Verna  at  the  sides. 

The  frame  consists  of  triplex  groups  of  fruit  separated  by  transverse 
knotted  ribbons. 

The  predella  shows  between  pilasters  decorated  with  high  vases :  ( i ) 
Coat  of  arms;  (2)  S.  Bernardino  of  Siena;  (3)  Christ  in  Sepulchre  at- 
tended by  his  mother  and  S.  Giovanni;  (4)  S.  Antonio  of  Padua;  (5) 
Coat  of  arms.  The  coat  of  arms  is  said  by  Graziani  to  be  that  of  the  Cer- 
boni  family :  Or,  a  lion  rampant  azure  and  gules ;  in  chief  azure  three 
lilies  or. 


Bibl. : 

Graziani,  154;  M.,  R.  H.,  126. 


BENEDETTO  AND  SANTI  BUGLIONI  195 

202  EQUESTRIAN  STATUE  OF  GIOVANNI  DE'MEDICI  DETTO 
DELLE  BANDE  NERE.  1539.  Florence.  Piazza  di  S.  Marco 
(formerly). 

For  the  celebration  of  the  wedding  of  the  Grand  Duke  Cosimo  I  with 
Eleonora  di  Toledo,  Santi  Biiglioni  assisted  Niccolo  il  Tribolo  in  construct- 
ing a  temporary  equestrian  statue  of  Cosimo's  father,  Giovanni  delle  Bande 
Nere.  This  was  set  up  on  the  Piazza  di  S.  Marco.  The  newly  married 
couple  entered  the  city  at  the  Porta  al  Prato,  where  il  Tribolo  had  con- 
structed a  triumphal  arch  of  elaborate  architectural  design  and  adorned 
with  many  reliefs  and  statues  of  such  figures  as  Fecundity,  Security,  Time, 
and  Eternity.  The  courtyard  of  the  Medici  palace  was  also  decorated  by 
various  young  artists  under  Tribolo's  direction.  Vasari  adds :  Tribolo 
also  constructed  in  the  Piazza  di  S.  Marco,  on  a  lofty  base  ten  braccia  high 
(upon  which  Bronzino  had  painted  in  bronze  a  beautiful  historical  frieze), 
a  horse  twelve  braccia  high,  with  front  legs  raised  aloft;  and  upon  it  an 
armed  figure  proportionately  large  and  representing  that  most  valiant  lord 
Giovanni  de'Medici,  father  of  His  Excellency,  before  whom  lay  peoples 
wounded  and  dead.  This  work  was  conducted  with  such  discretion  and 
skill  by  Tribolo  as  to  be  admired  by  everyone  who  saw  it ;  and  what  was 
most  marvellous  was  the  rapidity  with  which  he  executed  it,  assisted 
amongst  others  by  Santi  Buglioni  the  sculptor  who  fell  and  maimed  himself 
in  one  leg  for  life  and  barely  escaped  death. 

Tribolo,  assisted  doubtless  by  Santi  Buglioni,  designed  several  other 
such  monuments  for  marriage  and  other  festivals. 

Bibl. : 

Bombe,  B-Th.  Lex.,  s.v.  Santi  Buglioni;  Vas.,  Ill,  376;  VI,  88  note  i. 

203  TEN  HEADS.     1542.     Naples. 

The  Medici  archives  record  that  (Lorenzo)  Marignolli  and  Santi  Bugli- 
oni were  paid  35  florins  for  ten  heads  of  glazed  terra-cotta,  which  the 
Duchess  Eleanora  di  Toledo,  wife  of  the  Grand  Duke  Cosimo  I,  forwarded 
to  Naples.  Whether  these  were  busts  in  the  round  or  in  relief  is  not  stated. 
Their  whereabouts  is  not  known. 

Document: — [Copied  by  Mr.  Rufus  G.  Mather.] 

M  D  X  L  1 1 
Addi  28  detto  (settembre) 
Feci  sotto  scriptione  a  uno  conto  del  marignolle 
e  di  sancti  buglione  di  f  35  per  le  X  teste  di 


196  BENEDETTO  AND  SANTI  BUGLIONI 

terra  vetriata  per  la  duchessa  per  mandare  a  napoli 
Saldo  per  m°  tribolo.     A  michele  ruberti" 

[Arch,  di  Stato.  Ricordi  e  copie  di  lettere  ed'altro  pertinent!  all  Iir° 
et  ex""*  (excellentissimo)  S"  Duca  di  firenze  Cosmo  de  Medici  per  mano 
di  p°  franc"  riccio  dal  1540  al  1547,  Segnato  Archiv.  Mediceo  n"  600  a 
c.  17.] 

Bibl. : 

Bombe,  B-Th.  Lex.,  s.v.  Santi  Buglioni;  Guasti,  Cafaggiolo,  168. 

204  FIGURINES  (formerly).     1546.     Florence.     SS.  Annunziata. 

In  the  church  of  the  SS.  Annunziata  stands  today  a  high  altar  of  silver 
made  in  1655.  This  replaced  an  earlier  altar  by  Baccio  d'Agnolo  with  a 
ciborio  of  wood  designed  by  his  son  Giuliano.  Above  the  altar,  which  ac- 
cording to  Bocchi  was  highly  prized  by  connoisseurs,  stood  a  crucifix  by 
Antonio  da  Sangallo;  above  the  ciborio  were  terra-cotta  figurines  which 
Milanesi  says  were  made  by  Santi  Buglioni.  He  assigns  the  ciborio,  prob- 
ably on  the  authority  of  some  document,  to  the  year  1546. 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Santi  Buglioni;  Bocchi-Cinelli,  442;  Vas., 
Ill,  376  note  3 ;  VI,  88  note  i. 

205  PAVEMENTS.      1 549-1 560.      Florence.      Biblioteca   Laurenziana, 
Palazzo  Vecchio,  Pitti  Palace  Grottoes. 

The  account  books  of  Duke  Cosimo  I,  show  fragments  for  pavements 
made  for  the  Biblioteca  Laurenziana,  for  various  rooms  in  the  Palazzo 
Vecchio,  and  for  the  grottoes  in  the  Pitti  gardens.  Pavements  were  sold 
by  the  braccio  or  square  cubit,  at  from  three  to  fifteen  lire  per  braccio. 

A.     THE  BIBLIOTECA  LAURENZIANA.     1 549-1 554.     Photo.,  Ali- 
nari,  19 10. 
The  documents  (nos.  1-12)  copied  by  Mr.  Mather  indicate  that  the  pave- 
ment of  the  Laurentian  library  was  designed  and  begun  by  Bartolomeo  di 

,  in  red  and  white  tiles,  and  that  payments  were  made  for  it  to  Santi 

Buglioni  from  April  i,  1549  until  Feb.  10,  1554.  Bartolomeo  is  described 
as  a  "scarpellino"  and  may  have  been  a  business  associate  of  Santi  Buglioni. 
Possibly  he  was  the  father  of  Lorenzo  di  Bartolomeo  Marignolli,  scultore, 
mentioned  in  Documents  24-25. 


BENEDETTO  AND  SANTI  BUGLIONI 


197 


Vasari's  account  is  that  Tribolo  designed  this  pavement,  that  it  was  exe- 
cuted in  red  and  white  tiles,  and  followed  Roman  prototypes.  The  design 
of  the  pavement  (Fig.  143),  with  its  garlands  of  laurel  hanging  from  the 
skulls  of  goats,  its  Medici  rings  with  the  motto  SEMPER,  and  friezes  with 


Fig.  143. — Pavement  of  the  Biblioteca  Laurenziana. 

grotteschi  and  other  classic  motives,  is  reflected  in  the  ceiling,  the  design 
of  which  is  attributed  to  Michelangelo.  Geymiiller  describes  its  technique 
as  the  inlaying  of  light  coloured  designs  on  a  hard,  dark  cement.  This  sug- 
gests a  resemblance  to  the  Roman  opus  alexandrinum  or  perhaps  to  His- 
pano-Mooresque  methods  which  were  also  in  vogue  at  this  period.  The 
pavement  is  well  preserved  to  this  day. 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.   Santi  Buglioni;  Geymiiller,  VIII,  30,  Bl. 
7,  9,  Fig.  29;  Vas.,  Ill,  376  note;  VI,  88,  note  i,  92. 

B.     THE  PALAZZO  VECCHIO.    1556-1560. 

The  pavements  made  by  Santi  Buglioni  and  by  Lorenzo  di  Bartolomeo 


198  BENEDETTO  AND  SANTI  BUGLIONI 

Marignolli  for  the  Palazzo  Vecchio  were  laid:  (i)  in  large  rooms  (camere 
stanze)  ;  (2)  in  small  spaces  (pianerottoli,  iscrittoi)  ;  (3)  the  chapel;  and 
(4)  in  the  grottoes  of  the  Pitti  Palace.  The  payments  are  recorded  in 
Documents  Nos.  13-25. 

a.  The  Camere.     1 551-1560. 

These  camere  were  in  the  accrescimento  or  new  portion  of  the  Palazzo 
Vecchio.  First,  the  walls  were  plastered.  This  took  some  time  from  Dec 
7,  1551  to  Feb.  28,  1557  (Docs.  13-18).  The  pavements  were  then  laid, 
or  paid  for,  from  April  16,  1556  to  some  day  in  June,  1560  (Docs.  19-25). 

The  rooms  are  variously  designated  as  (i)  un  salotto  (Docs.  19,  20), 
(2)  Salone  grande  (Doc.  22),  (3)  la  sala  dove  sone  le  quatro  stagione 
(Docs.  22,  23),  (4)  camera  del  Duca  Cosimo  (Doc.  22),  (5)  Camera  del 
Signore  Giovanni  (Doc.  22),  (6)  Sala  di  Papa  Leone  (Docs.  22,  23),  (7) 
Sala  di  Papa  Cremente,  i.e.,  Clemente  VII  (Docs.  21,  22).  In  a  room  now 
called  the  Sala  di  Lorenzo  il  Magnifico  there  is  a  pavement  in  the  centre  of 
which  is  a  Capricorn  with  seven  stars  (impresa  of  Francesco  I).  At  the 
four  corners  are  tortoises  with  sails  (impresa  of  Cosimo  I).  The  Sala 
dei  Quattro  Stagione  exists,  but  has  lost  its  pavement..  The  Camera 
del  Duca  Cosimo  has  a  pavement  in  the  centre  of  which  is  a  tablet  in- 
scribed COSIM  •  MEDIC  •  DVX  •  FLORE  •  II  •  MDLVI  with  a 
tortoise  and  sail  at  top  and  bottom.  In  medallions  are  capricorns,  Medici 
rings,  the  yoke,  and  tortoise  and  sails.  The  pavement  in  the  Camera  del 
Signore  Giovanni  (delle  Bande  Nere)  no  longer  exists.  The  pavement  of 
the  Sala  di  Leone  X  (Fig.  144)  shows  in  the  centre  the  eight  Medici  rings 
intertwined  and  in  the  corner  four  masks.  The  pavement  in  the  Camera 
di  Clemente  VII  shows  in  the  centre  and  angles  his  impresa,  a  globe  on  a 
pedestal  fired  by  the  sun,  crossed  by  a  scroll  inscribed  CANDOR  ELESVS. 

b.  The  small  spaces.  The  documents  refer  to  two  "pianerottoli"  (Docs. 
19,  20,  22),  and  two  ''iscrittoi."  Of  the  "pianerottoli,"  or  stair  landings, 
one  was  before  the  entrance  of  the  sala  granda  (Doc.  22),  the  other  at  the 
foot  of  the  stairway  of  what  was  formerly  the  'fonderia'  (Docs.  22,  23). 
Of  the  two  "iscrittoi,"  or  studies,  one  was  in  the  Camera  del  Duca  Cosimo, 
the  other  in  the  Camera  of  Signore  Giovanni.  ,  The  pavement  of  the 
former,  consisting  of  red  and  white  tiles,  exists  in  part;  that  of  the  latter 
has  disappeared.  The  "Sala  di  sopra  dipintal  pari  del  terazo"  has  a  similar 
pavement  of  red  and  white  tiles. 

Of  these  pavements  one  of  the  pianerottoli  still  shows  the  impresa  of 
Cosimo  I  (the  tortoise  and  sail).  The  pavement  of  the  other  is  almost  en- 
tirely effaced.  The  pavements  of  the  two  scrittoi  consist  of  plain  hexagonal 
and  rectangular  tiles. 


BENEDETTO  AND  SANTI  BUGLIONI 


199 


Fig.  144. — Pavement  in  the  Palazzo  Vecchio. 

C     THE  CAPPELLA  DI  LEONE  X.     1558-1560. 

This  adjoins  the  camere  of  Papa  Leone  and  of  Papa  Clemente.  Its 
pavement,  dating  from  1558  to  1560  (Docs.  Nos.  21,  22),  is  in  excellent 
preservation.  It  measures  today  3.64  m.  x  2.85  m.,  according  to  the  Docu- 
ment 21  it  required  thirty-seven  and  according  to  Document  22  thirty-eight 
and  a  half  braccia  of  pavement  at  eight  lire  a  braccio. 

The  centre  of  the  pavement  (Fig.  145)  forms  an  ellipse  filled  with  square 
tiles  alternately  blue  and  yellow.  This  is  framed  by  a  maeander,  white  on 
blue,  beyond  which  is  a  wave  pattern,  yellow  on  blue,  with  similar  bands  in 
reverse  order  separating  a  broad  violet  frieze  on  which  are  four  medallions 
containing  emblems.  On  the  main  axis  of  the  ellipse  the  medallions  dis- 
play a  tortoise  on  green  land  with  a  mast  and  sail  of  a  boat  in  the  back- 
ground (impresa  of  Cosimo  I)  ;  on  the  short  axis  are  capricorni  (impresa 
of  Francesco  I),  white  on  blue.  Between  the  medallions  are  rectangular 
tablets  with  leaf  patterns.  The  spandrels  of  the  pavement  show  attractive 
borders  of  rosettes  and  lilies,  white  on  blue  for  the  outer,  and  white  on 
green  for  the  inner  band.  Near  the  two  doorways  are  tiles  with  fruit  and 
flower  patterns,  suggesting  Robbia  influence. 


Bibl. 


Vas.  Ill,  376  note  3 ;  VI,  88  note  i, 


200 


BENEDETTO  AND  SANTI  BUGLIONI 


Fig.  145. — Pavement  of  the  Cappella  di  Leone  X. 


D.     THE  GROTTOES  OF  THE  PITTI  PALACE.    1556-1560. 

There  are  two  grottoes  in  the  gardens  of  the  Pitti  palace.  ( i )  It  is  the 
smaller  one  to  which  reference  is  made  in  Documents  Nos,  19,  20,  22. 
The  area  of  the  pavement  was  76%  braccia.  The  cost,  2-14  lire  per 
braccio,  indicates  a  difference  between  the  plain  and  more  elaborate  por- 
tions of  the  pavement.  As  in  the  Biblioteca  Laurenziana,  the  decoration 
of  the  ceiling  and  pavement  followed  the  same  pattern.  This  consisted 
here  of  a  series  of  medallions  alternating  with  rectangles  and  arranged  in 
squares.  The  medallions  contain  no  imprese.  The  colours  used  in  the 
pavement  are  red,  white  and  blue.  A  more  thorough  cleaning  should 
bring  to  light  about  three-quarters  of  the  original  pavement.  (2)  The 
larger  grotto  was  also  paved,  but  at  a  later  date  and  with  a  different  de- 
sign. Only  traces  remain,  but  enough  to  show  a  scale  pattern  of  blue 
(2  shades),  white,  and  green.  The  Document  for  this  pavement  has  not 
yet  been  discovered. 


BENEDETTO  AND  SANTI  BUGLIONI  201 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

I.  "+  yhs  MDXLVIIIJ" 

Santj  dj  michele  buglionj  schultore  de  dare 
addi  p(ri)mo  dap(r)ile  1549  D.(ucati)  settanta  quatro 
d''(d6ro)  di  m*''(moneta)  lib  cinque  sol.  10  p(er) 
tantj  consegniatocelo  p(er)  debitore  a  lib(r)o 
choregie  doree  s"  A.  c.  219  a  conto  del 
pavimento  dela  lib(r)eria  dj  s*°  L"  posta 
la  ragione  di  detto  lib(r)o  ave(avere)  i 

q°(questo)  c.  6 D  74  lib  5.10 

(Then  follow  13  items  of  D.  2  each  from  (26) 

April  6  to  June  28) 
(Then  17  items  of  D.4  each  from  (68) 

July  6  to  October  29) 

(Total)   D.  168  lib.5.10" 
[Archivio  di  Stato,  Libro  Deb.  e  Cred.  B,  del  Duca  Cosimo, 
Muraglia  del  suo  Palazzo  ed  altri  luoghi,   1 548-1 556,  segnato 
Fabb.  Medicee  Cod.  i,  c.  5.] 

2.  "+  yhs  MDXLVIIIJ" 

Santj  dj  michele  buglionj  schultore  di  contro 
de  av(er)e  p(er)  tantj  posto  debba  dare  p(er)  q*° 
(quanto)  mo(n)ta  q(uest)o  conto  in  q°  c.  76. .  .D.  168  lib.  5.10" 
[Idem,  c.  v.] 

3.  "+  yhs  MDXLVIIIJ" 

Santj  di  michele  buglionj  schultore  de  dare  p(er) 
tantj  posto  debba  av(er)e  p(er)  q"  mota  un  suo 

coto  in  q  c.  5   D.  168  lib.  5.10 

(Then  23  items  for  sums  varying  from  D.  2 

to  D.  6  from  Nov.  2,  1549  to  Apr,  12,  1550)     (70) 

(Total)   D.  238  lib.  5.10" 
[Idem,  c.  y6.] 

4.  "+  yhs  MDXLVIIIJ" 
Santj  dj  michele  buglionj  schultore  di 
contro  de  av(er)e  p(er)  ta(ntj)  posto  debba 

dare  p(er)  q*°  mota  q°  suo  coto  in  q°  c.  117  ■ —  D.  238  lib.  5.10" 
[Idem,  c.  Ixxvj.] 

5.  "+  yhs  MDL 

Santj  dj  michele  buglionj  schultore  de 


202  BENEDETTO  AND  SANTI  BUGLIONI 

r"  (resto)    dare  p(er)  tatj  posto  debba  av(er)e  p(er)  quanto 

mota  un  suo  coto  i  q"  c.  76 D.  238  lib.  5.10 

(Then    item    of  D.  i   lib.  3-     19  Apr.   1550     D.      i   lib.  3  — 
"     7  items  of  D.  2  each  from  26  Apr.  1550 

to  April  1 55 1  D.    14 

"     I   item     of  D.  i   May  23   1551  D.       i 

"     I   item    of  D.  3  Nov.  14  1551  D.      3 

(Total)   D.  258  lib.  1. 10" 
[Idem,  c.  117.] 

6.  "+  yhs  MDL 

Santj  dj  michele  buglionj  dj  contro  de  av(er)e 

addj  31  dottob(r)e  1551  D.  dugentocinquantadue 

dj  m*'  si  li  fanno  buonj  p(er)  la  valsuta  di 

b°  504  quadre  dj  pavim*°  di  terra  rossa 

et  biancha  condotto  a  sua  spese  p(er)  lib.  3.10 

b°  fattocj  dadi  8  di  sett  1548  adi  31 

di  maggio  1550  in  30  quadrj  di  b  16  4/5 

quadre  lunpelaltro  murato  a  n(ost)re  spese 

nella  lib(r)eria  di  s*°  L^°  daglinlatj  dare 

spese  p(er)  detto  c.  197 D.  252  lib.  — 

E  de  av(er)e  p(er)  tantj  posto  debba  dare 

p(er)  resto  di  q°  coto  in  q°  c.  208   D.      6         i.io 

D.  258  lib.  i.io" 
[Idem,  c.  CXVIJ.] 

7.  "+  yhs  MDLJ° 

Spese  di  lavorj  della  lib(r)eria  di  s*° 

L^°  dono  dare 

E  addj  31  dottob(r)e  1551  D.  dugento  — 

cinquantadua  dj  m'"  si  fanno  buonj 

a  santj  di  michele  buglionj  scultore 

p(er)  la  valsuta  di  b(raccia)  504  dj  pavim*" 

di  terra  rossa  et  biancha  fattocj 

tt°(tutto)  a  sua  spese  il  qual  pavim*" 

lo  abiamo  di  poj  fatto  murare  in 

detta  lib(r)eria  daglinlatj  in  30  quadri 

di  b.  16  4/5  quadre  lumpelaltro  a  lib.  3.10 

b.  f attic j  dadi  8  di  sett  1548  adi  31 

dj  maggio  1550  al  g"(giornale)  c  74  av(er)e 

in  q°  c.  117   D.  252  lib.  — " 

[Idem,  c.  197.1 


BENEDETTO  AND  SANTI  BUGLIONI  203 

8.  "+  yhs  MDLIIJ" 

Santj  dj  michele  buglionj  schultore  de  dare 

addj  X  di  feb"  1553  D.  tre  di  m'"  p(or)*"  cotj(contantj) 

a  coto  del  pavim*"  dela  lib(r)eria  dj  s"  L'°  a 

u"  c.  46  cassa  av(er)e  in  q°  c.  75 D.      3  lib.  — 

(then  26  items  varying  from  D.  i,  2,  3  to  D.  5 

lib.  2.10  from  Feb.  23,  1553  to  Sept.  7, 

1553)  (D.    68  lib.  3.10) 

(Total)   D.    71  lib.  3.10" 
[Arch,  idem,  Lib.  Deb.  e  Cred.  C  del  Duca  Cosimo,  Murag- 
lia  etc.  1552-1572,  segnato  Fabb.  Medicee,  Cod.  2.  c.  78.] 

9.  "+  yhs  MDLIip 

Santj  di  michele  buglionj  di  cotro  de 

av(er)e  p(er)  tantj  posto  debba  dare  p(er)  quanto 

mota  q"  suo  coto  in  q°  c.  97   D.    71  lib.  3.10" 

[Idem,  c.  LXXVIIJ.] 

10.  "yhs  MDLIIJ" 
Santj  dj  michele  buglionj  scultore 

de  dare  p(er)  tantj  posto  debba  av(er)e 

peresto  dun  suo  coto  in  q°  c  78  D.    71  lib,  3.10 

(Then  33  items  for  sums  of  D.  2,  3,  4  and  5 

from  Sept.  15,  i554-July  6,  1555  (91   lib.—) 

E  addj  31  dagosto  D.  tredicj  di  m*" 
lib.  sej  p(iccioli)  p(er)  noj  dal(i)b(r)o  dadj  20 
di  L°  a  q°  dj  in  7  p(ar)tite  al  g"  256  in  q°  c.  135     D.    13  lib.  6 

D.  176  I2.10" 
[Idem,  c.  97.] 

11.  "+  yhs  MDLIIIJ" 

Santj  di  michele  buglionj  dj  cotro  de  av(er)e 
addj  9  di  feb°  1554  D.  cento  quindicj  d°  dj 
m*"  si  li  fanno  buonj  p(er)  la  mota  dj  4  quadri 
di  pavim*"  p(er)  11  mezo  dela  lib(r)eria  dj  s*"  L" 
di  terra  cotta  rossa  e  biancha  ch(e)  corisponde 
al  palcho  i  qualj  furno  p(r)incipiatj  da  bt"" 

(bartolomeo)  dj   scharp""  che  ne  poteva 

eser  fatto  tanto  ch(e)  fussj  p(er)  un  quadro 
datoliene  (gliene  dato)  a  finire  a  tte(tutte) 
sua  spese  et  muratj  de  p(r)imj  alentrare 
di  detta  lib(r)eria  p(er)  tal  p(r)ezo  p(er)  ordine 
et  commissione  di  S.  E.  Ill""  come  disse 


204  BENEDETTO  AND  SANTI  BUGLIONI 

franc"  di  s(er)  jac°  posto  debbino  dare 

spese  di  detta  lib(r)eria  in  q°  c  iii  —  D.  115  lib.  — 

*"*  E  de  av(er)e  p(er)  tantj  posto  debba  dare 

per  r"(resto)  dj  q°  coto  in  q°  c.  147  —  D.    61   lib.  2.10 

D.  176  lib.  2.10" 
[Idem,  c.  LXXXXVIJ.] 

12.  "+  yhs  MDLIIIJ" 

Spese  p(er)  la  lib(r)eria  di  s*°  L"  deono 
dare  p(er)  tantj  poste  debbino  av(er)  p(er) 
q"  mota  un  loro  coto  in  q°  c.  64  .  .  . .  — 
E  addj  9  di  feb°  1554  D.  centoquindicj 
d°  dj  m"  si  fanno  buonj  a  santj 
dj  michele  buglionj  p(er)  la  mota  dj  4 
quadrj  di  pavimento  di  terra  cota  rossa 
e  biancha  datolj  a  finire  a  tt°  sua  spese  e 
muratj  nel  mezo  di  detta  lib(r)eria  e  p(r)imj  aletrare 

i  qualj  furno  p(r)incipiatj  da  b(ar)t"°  dj scharp" 

ch(e)  ne  poteva  essere  fattj  p(er)uno  et  si  li  dettono 
p(er)  tal  p(r)ezo  p(er)  ordine  et  comesione  di  S.  E  111"° 
come  disse  franc"  di  s(er)  jac°  al  g'*  222  av(er)e 
in  q°  c.  97 D.  115  lib.  — " 

[Idem,  c.  III.] 

13.*  "+  yhs  MDLJ 

Spese  dj  mnramentj  inacrescimento  del 
palazzo  dj  S.  E.  Ill'""  deono  dare  p(er) 
tantj  posti  debbino  av(er)e  p(er)  q"  mota 

un  lor  coto 

E  addj  7  detto  (dicenb(r)e)  D.  diciasette 

dj  m*'  si  fanno  buonj  a  santj  di 

michele  buglionj  scultore  p(er)  la  mota 

dil(i)b(r)e57i2di  gesso  hauto  dalluj 

dadj  9  di  dicenb(r)e  1549  addj  23 

dottobre  1551  a  dj  5  l(i)b(r)a  p(er)  murare  e 

intonichare  in  piu  luoghi  di  detto 

palazzo  al  g"  82  in  q°  c.  208  —  D.    17  lib.  — " 

[Archivio  di  Stato,  Lib.  Deb.  e  Cred.  B.  del  Duca  Cosimo, 
Muraglia  del  suo  palazzo  ed  altri  luoghi  1 546-1 556,  segnato  Fabb. 
Medicee  Cod.  1  c.  201.] 

*  We  take  this  opportunity  of  thanking  Aw.  Niccolo  Santini  of  Florence  for 
the  discovery  of  Documents  Nos.  13-23  and  placing  them  at  the  disposal  of 
Mr.  Rufus  G.  Mather.  Doc.  22  was  copied  by  Aw.  Santini;  the  rest  by 
Mr.  Mather. 


BENEDETTO  AND  SANTI  BUGLIONI  205 

14.  "+  yhs  MDLJ° 

Santj  dj  Micele  Buglionj  scultore  de  dare  per 
tantj  posto  debba  avere  per  resto  dun  suo 

conto  in  questo  c.  117 D.      6  lib.  i.io 

(i  partita  di  D  2     24  dicembre  1551 
(12  partite  di  D  i  ciascuna  dal  2  gennaio 
al  10  dicenbre) 


D. 

6 

D. 

2 

D. 

12 

D.    20  lib.  i.io' 


[Idem,  c.  208.] 


15.  "+  yhs  MDLJ" 

Santj  di  Micele  Buglionj  scultore  dj 

contro  de  avere  addi  7  di  dicenbre 

1 55 1  D.  diciasette  dj  m*"  si  li  fanno 

buonj   per  la  monta  dil(i)b(re)  5712  di  gesso  hauto 

dalluj  per  intonichare  stuoie 

in  piu  stanze  del  palazzo  dadi 

9  dj  dicenbre  1 549  addj  23  dottobre 

1 55 1  a  dj  5  libra  dare  spese  dj 

muramentj  inacresimento  del  palazzo 

in  questo  c.  201 D.    17  lib. — 

E  addj  19  di  Gugnio  1552  lib.  ventj 
sol.  XV  dj  viij  picciolj  si  li  fanno 
buonj  per  libre  1000  dj  gesso 
hauto  dalluj  per  li  nostri  mura- 
mentj del  palazzo  dadi  x  di  di- 
cenbre 1 55 1  addj  II  dj  maggio  per 
dj.  5  libra  dare  spese  per  dettj 

in  questo  c.  222    D.      2 — 6.16.8 

E  de  avere  per  tantj  posto  debba 

dare  in  questo  c.  247         —    —    —  D.  —  lib.  1.13.4 

D.  20  lib.  I.IO    ' 
[Idem,  c.  CCVIip.] 

16.  "+  yhs  MDLIJ 

Santj  dj  Micele  Buglionj  schultore  de  dare  per 

tantj  posto  debba  avere  per  resto  d'un  suo 

conto  in  questo  c.  208     —    —    —  D.  —  lib.  1. 13.4 

E  addj  28  dj  Gennaio  1552  lib.  sette  picciolj 

porto  Micelagelo  suo  figluolo  contanti  a 

uscita  c.  161  in  questo  c.  243    D.    i  lib.  — 

E  addj  1 1  dj  f ebbraio  lib.  quatro  sol.  undicj 
picciolj  porto  il  detto  contanti  a  uscita 


2o6  BENEDETTO  AND  SANTI  BUGLIONI 

c.  163  in  questo  c.  243    —    — D.  —  lib.    4.9.2 

D.    I  lib.  6.  2.6" 
[Idem,  c.  247.] 

17.  "+  yhs  MDLIJ— 
Santj  dj  Micele  Buglionj  dj  contro 
de  avere  addj  19  dj  gennaio  1552 
lib.  tredicj  sol  ij  dj  v  picciolj  si  li 
fanno  buonj  per  la  monta  dj  libre 
630  dj  gesso  da  murare  haute  dalluj 
dadj  4  dj  gugnio  1552  addj  11  dj  gennaio 
per  dj  5  libra  per  bisognio  di  nostri 
muramenti  del  palazzo  dare  spese 

in  questo  c.  246    —    —    —    —  D.    i  lib.    6.2.6" 

[Idem,  c.  CCXLVIJ.] 

18.  "+  yhs  MDLV 

Santj  dj  Michele  Buglionj  schultore 

de  dare  per  tantj  posto  debba 

avere  per  resto  d'un  suo  conto  in  questo  c.  97    D.  61  lib.  2.10 

E  addj  29  di  febbraio  1555  D  trentotto  dj 

moneta  lib.  cinque  picciolj  per  noj  da 

Francesco  di  Ser  Jachopo  proveditore  del 

Castello  in  22  partite  dadi  7  di  settembre  (15)55 

adj  22  di  febbraio  detto  come  al  giornale  267  in  questo 

c.  145     D.    38  lib.    .5- 
E  addj  29  d'agosto  1556  D.  ventiquatro  dj  moneta  lib.  sej 
picciolj  per  noj  da  Francesco  di  ser  Jachopo  in  xij 
partite  dadi  7  di  Marzo  55  adi  12  d'agosto  56  al 
giornale  c.  106  avere  in  questo  c.  153    —    —  D.    24  lib.    .6- 
E  addj  31  dj  gennaio  D.  diciotto  dj  moneta  sol. 
xvii  dj.  iiij°  picciolj  per  noj  da  Francesco  dj 
Ser  Jachopo  in  7  partite  dadi  12  di  settenbre 
adi  30  dj  gennaio  al  giornale  c.  127  in  questo  c.  170 

D.    18  lib.- 17.4 
E  addj  27  di  febbraio  lib.  tredicj  sol.  iij  per  noj 
da  Francesco  dj  Ser  Jachopo  questo  di  al  giornale 
c.  137  avere  in  questo  c.  174  D.      i  lib.  6.3- 

E  addj  28  dj  febbraio  1557  D.  ventiquatro  dj 
moneta  lib.  v  sol.  viiij  dj.  xiii  picciolj  per 
tantj  consegniattolo  per  credit  (ore)  a  libro 
Pagonazzo  segnato  D  c.  19  avere  la 


BENEDETTO  AND  SANTI  BUGLIONI  207 

ragione  di  detto  libro  c.  180 D.    24  lib.  5.9.8 

D.  169  .  5" 
[Idem,  c.  147.] 

19.  "+  yhs  MDLV 
Santj  di  Michele  Buglionj  schultore 
di  contro  de  avere  addj  31  d'agosto 
1556  D  centosessantanove  dj  moneta 
lib.  V  piccioli  si  li  f anno  buonj  per 

la  monta  dj  braccia  432  dj  pavimento 
di  terra  chotta  bianca  et  rossa  datocj 
per  tutto  di  16  d'aprile  1556  per  un 
salotto  et  per  dua  pianerottolj  per  le 
stanze  niiove  del  Palazzo  Duchale  et  per 
la  Grotta  del  Giardino  detto  de'  Pittj 
a  lib  2.15  braccio  pregiato  per  Francescho  dj  Ser 
Jachopo  dare  spese  dela  muraglia  di  detto  palazzo 
in  questo  c.  160    —    —    —    —  D.  169  lib.  5" 

[Idem,  c.  CXLVIJ.] 

20.  "+  yhs  MDLVJ" 

Spese  dela  muraglia  del  nostro  palazzo  duchale 

deono  dare  

E  addj  detto  (31  agosto  1556)  D.  centosessanta  nove 

dj  moneta  lib.  v  picciolj  si  fanno  buonj  a  Santj 

dj  Michele  schultore  per  la  monta  dj  braccia 

432  dj  pavimento  di  terra  cotta  biancha  et 

rossa  datocj  per  tutto  di  16  d'aprile  1556 

per  un  salotto  e  per  dua  pianerottolj  per  le 

stanze  nuove  dj  detto  palazzo  et  la  Grotta 

del  Giardino  detto  de  Pittj  per  lib.  2.15 

braccio  pregiato  per  Francesco  dj  Ser  Jachopo  al 

giornale  c.  117  avere  in  questo  c.  147    —    —    D.  169  lib.  5-" 


[Idem,  c.  CLX.] 

^^   2I._  (1558) 

"Copia  d'uno  conto  dj  Santi  di  Micele 
Buglionj  d'uno  pavimento  fatto  di  tera 
cotta  invetriato  fatto  per  el  piano  dela 
capela  c(h)e  ne  in  sula  sala  dov'e  le 
stanze  dj  papa  Leone  c(h)e  rie(s)ce  nela 


208  BENEDETTO  AND  SANTI  BUGLIONI 

camera  di  papa  cremente  c(i)oe  per  braccia 

37  dj  pavimento  a  lib.  otto  braccio  monta  lib.  276  sol 

tarato  el  sopra  detto  conto  per  no(n)  si 

fece  creditore  ma  s'e  fatto  con  altrj  lavorj 

al  quaderno  de'  conti  segnato  D  secondo  c  —  " 

[Archivio  idem,  Copie  di  Listre  e  Conti  Pal.  Due  D.,  1556- 
1558,  segnato  Fabb.  Medicee,  Cod.  20,  c.  171.] 

22.  1560 

Conto  di  pill  lavori  di  pavimenti  fatti  per  Santi 
di  Michele  Bnglioni  da  di  15  di  maggio  1556  di  .... 
di  Giugnio  1560,  che  dee  avere  per  in  sino  di  15 
di  maggio  1556  A(scudi)  centosessantanove  di  moneta 
sono  per  b.  338  di  pavimento  per  1.  3-15  el  braccio 
tutt*  a  sua  ispese,  murato  detto  pavimento  in  sn  la  sala 
dove  sono  le  quattro  istagione  su  di  sopra  nelle 
istanze  nove  di  verso  la  piazza  del  grano  monta — A  169  -  lib.  - 
E  dee  avere  per  b.  g}i  di  detto  pavimento  fatto 
in  sul  pianerottolo  innanzi  s'entri  in  detta 
sala  grande  per  1.  3.15  b.  monta  ...  '^4  lib.  6.10 

E  dee  avere  per  b.  6  di  detto  pavimento  fatto 
al  pianerottolo  a  pie'  della  iscala  che  entra 

nelle  soffitte  nuove  per  1.  3.10  b. A      3  lib.  — 

E  dee  avere  per  b(racchia)  76^  di  pavimento  fatto 

per  la  stanza  della  Grotta  de'  Pitti  per 

1.  2-14  b.  tutto  a  sua  spese  monta  A    38  lib.  2-10 

E  dee  avere  per  b.  38^  di  pavimento  inve- 

triato  fatto  per  la  cappella  ch'ene  allato 

alia  sola  di  papa  Leone  per  L.  7-10 

b.  monta '^SS  lib.  3-10 

E  dee  avere  per  tanto  lavoro  fatto  per 

la  camera  che  si  dice  del  duca 

cosimo  nelle  istanze  nuove,  dato 

la  terra  di  nostra  venuta  da  Monte 

Lupo  per  detta  fattura  A  venti  di  moneta  A    20  lib.  — 

E  dee  avere  per  tanto  lavoro  fatto  per  la 

camera  titolata  del  Signore  Giovanni  a 

nostra  terra  monta  A  ve^ti  di  moneta  A    20  lib.  — 

1560 
Soma  el  conto  di  Santi  Buglioni  di  la  A  233  lib.  5-14 

E  dee  avere  per  tanto  lavoro  fatto  per  la  sala 


BENEDETTO  AND  SANTI  BUGLIONI  209 

titolata  di  papa  Lenone  (sic)  A  trenta  di  moneta 

a  terra  nostra  —     —     —  ^    3^  lib.  — 

E  dee  avere  A  venticinque  per  tanto  lavoro  fatto 
per  la  camera  titolata  di  papa  Cremcnte  a 

nostra  terra ^25  lib.  — 

E  dee  avere  per  tanto  lavoro  fatto  per  2 
iscrittoj  1    nella  camera  del  Sig"  Giovanni 
e  1°  su  da  alto  nelle  camere  nuove 

montano  A  quattro    — ^4  lib.  — 

E  dee  avere  A  dieci  sono  per  piu  lavori 
che  sono  iti  male  in  fornace  e  prova, 
che  si  sono  rotti  e  non  si  sono  messi 

in  opera,  pero  gli  valuto  A  dieci  A    10  lib.  — 

A  362  lib.  5.14 
E  si  a  sca(n)sare  le  sopra  dette  4  partite 
coe  del  Salone  grade  di  sopra  c'era 
creditore  e  del  pianerotolo  inanzi  a 
detto  salone  e  d'uno  piannerotolo  a  pie' 
di  scala,  c(h')  entrava  dov'era  la  fo(n)deria 
e  d'una  istanza  fece  ala  grotta  de'  Pitti 
c(h)e  fu  b.  76^  e  di  tutte  le  sopra  dette 
partite  n'  era  ito  creditore  al  Giornale  di 
Tanai  (de'  Medici)  preg(i)ato  de  tutte  ista(n)ze 
per  Franc"  di  Ser  Jachopo  lib.  2-15  b°.  c(h)e  metono 

[Archivio  idem,  Copie  di  Listre  e.  Conti,  Pal.  Ducale,  segnato 
D  Secondo  1 558-1560,  segnato  Fabb.  Medicee  Cod.  21,  c.  128 
e  128'.] 

23.             "Yhs  MDLXXII 
fare  debitore  ispese  della  mnraglia  del  palazo 
ducale  di  D.  centoventi  dua  lib.  3  sol.  10  di  4 
piccioli  creditore  Santi  di  Micele  Buglioni 
ischutore  per  la  mota  di  b(raccia)  640  quadre 
di  pavimenti  fatti  di  terra  biancha  e  rossa 
a  tutte  sua  ispese  fatte  per  dua  sale  nele 
ista(n)ze  nove  diverse  la  pia(zza)  del  grano 
1°  nela  sala  di  papa  Leone  e  ra(l)tra  1 
sul  a  sala  di  sopra  dipintal  pari  (dipinta 
al  pari)  del  terazo  D.  122  lib,  3-10-4" 

[Archivio  Idem,  Giornale  e  Ricordi  F  del  Palazzo  Ducale, 
1566-1572,  segnato  Fabb.  Medicee  Cod.  5  c.  33*.] 


2IO  BENEDETTO  AND  SANTI  BUGLIONI 

(Documents  Nos.  24-25  discovered  by  Mr.  Rufus  G.  Mather.) 

24.  "+  Yhs  MDLV 

Lorenzo  dj  bt"°(bartolomeo)  marignioli 
schultore  de  dare  addj  31  dagosto  1555 
D.  tre  lib.  tre  p(iccioli)  p(er)  noj  da  franc" 
dj  s(er)  jac°  adj  13  dagosto  adi  31  detto 
a  c5to  di  pavime(n)tj  di  terra  al  g'^  257  in  q°  145    D.  3   lib.  3 


E  addj  29  di  feb°  D  trentanove  dj  m*'  lib.  dua 
p.p(er)  noj  da  franc"  sop(r)ad*°  in  21  p(ar)tite  dadi 
14  dj  sett  addj  2.2  dj  feb°  d*°  al  g'"  269 

av(er)e  in  q°  c.  145 D.     39  lib.  2 — 

1556  E  addj  29  dagosto  D.  quarantuno  dj  m"' 

lib.  sej  sol.  X  p.  p(er)  noj  da  franc"  di  s(er)  iac°  in 

22  ptite  dadj  7  in  mzo  (15)55  ^^j  22  dag" (15) 56 

al  g'*  106  av  (ere)  e  in  q"  c.  153  D.  41  lib.  6.10 — 

E  addj  31  dj  gen°  1556  D.  ventitre  dj  m*"  lib.  v 

sol.  viii  dj  viii"  p"  p(er)  noj  da  franc"  di  s  iac°  in 

7  ptite  dadi  12  di  sett  adj  23  di  gen"  al  g" 

I27inq°c.i70 D.  23  lib.  5.8.8 

D.  108  lib.  2.18.8" 
E  adj  VII  di  mzo  1572  D  j  lib.  IJ  sol.  X  p(iccio)li  p(er) 
altantj  assegnatolo  p(er)  cred'(creditore)  alibro 
biancho  seg*°  f.  c.  231  av*(avere)  la  rag*(ragione) 

di  detto  libro  in  q"  c.  184 D.   i   lib.  2.10 

D.  109  lib.  5.8.8 
[Archivio  idem,  Libro  Deb.  e  Cred.  C  del  Duca  Cosimo,  Mu- 
raglia  del  suo  palazzo,  1 552-1 572,  segnato  Fabb.  Medicee  Cod. 
2,  c.  144.] 

25.  ''+  yhs  MDLV 

Lorenzo  dj  bt™"  marigniolj  di  cotro  de 
av(er)e  addj  30  di  sett  1556  D.  centonove  dj 
m*'  lib.  V  sol.  viii  dj  viii  p.  li  fanno  buonj 
p"  la  mota  dj  b(raccia)  282^  quadre  di  pavim*° 
di  terra  cotta  biancha  et  rossa  murato 
in  una  camera  delle  stanze  nuove  del  palazzo 
D(uca)'*  a  lib.  4.5  b(racci(o)  p(r)egiato  et  misurato  p(er) 
giorgione  sa(n)tj  pit  (tore)   di  falcatone 
dela  mota  desso  lib.  8.5  p(er)  certopere 


BENEDETTO  AND  SANTI  BUGLIONI 


211 


che  si  li  erono  pag**  che  tocchavano  alluj 

dare  spese  in  q   c.  165  

[Idem,  c.  CXLIIIJ.] 


D.  109  lib.  5.8.8" 


206  (I)  LAMENTATION  AND  SAINTS.  1553;  (2)  CRUCIFIX- 
ION. Croce  dell'Alpe.  Chiesa.  Two  altarpieces,  one  rectangular, 
the  other  round-headed. 

On  the  9th  of  November,  1553,  Padre  Dom.  Jacopo,  Abbot  of  the 
Badia  di  Firenze,  contracted  with  Maestro  Santi  di  Michele  (Buglioni) 
for  two  altarpieces  of  glazed  terra-cotta  for  the  church  at  Croce  dell'Alpe. 
The  document,  signed  by  Santi  di  Michele,  is  here  published  (Fig.  146). 
I.  Lamentation  and  Saints. 

This  subject,  familiar  in  the  works  of  Giovanni  della  Robbia,  was  to 
represent  the  Madonna  holding  the  Dead  Christ  in  her  lap;  at  his  head  S. 


«rv 


J.s. 


I^%»  9^y^ii 


'm 


\MSi^ 


Fig.  146. — Contract  for  two  Altarpieces  at  Croce  dell'  Alpe. 


Giovanni  Evangelista;  at  his  feet  La  Maddalena;  on  the  dexter  side  S. 
Michele  and  S.  Elena;  on  the  sinister,  S.  Benedetto  and  S.  Antonio  (Abate)  ; 
with  frame  of  pilasters,  cornice,  frieze,  and  predella  adorned  with  symbols 
of  the  passion.  It  is  not  clear  precisely  where  and  how  the  "trofei  della 
passione"  were  expressed. 

Giovanni  della  Robbia  expressed  them  at  Lamporecchio  in  scenes  on  the 
pilasters ;  Benedetto  da  Maiano  in  his  pulpit  at  S.  Croce  as  symbols  on  the 
frieze ;  Benedetto  Buglioni  at  Gavinana  placed  them  in  the  hands  of  angels 


212  BENEDETTO  AND  SANTI  BUGLIONI 

flying  about  a  ciborium ;  Santi  Buglioni  placed  them  in  the  pilasters  of  an 
altarpiece  at  Camerino,  also  in  the  vault  of  a  Cupola  at  Bevagna.  The 
document  reads  as  if  it  was  the  predella  that  was  decorated  in  this  man- 
ner. This  would  be  unusual,  so  also  was  the  similar  decoration  of  the 
cupola  at  Bevagna. 
2.  Crucifixion. 

A  round-headed  altarpiece  within  which  was  a  Christ  on  the  Cross,  with 
sun  and  moon,  lance  and  sponge.  The  frame  was  to  be  ornamented  with 
trophies  of  the  passion. 

The  location  of  Croce  dell'Alpe  is  said  by  Milanesi  to  be  near  Cutigliano 
and  it  is  natural  to  suppose  that  the  altarpieces  at  Cutigliano,  and 
Gavinana  should  be  also  attributed  to  Santi  Buglioni.  They,  however,  are 
of  an  earlier  date  and  more  properly  to  be  assigned  to  Benedetto  Buglioni. 

Document: — [Revised  by  Mr.  Rufus  G.  Mather.] 
"M  •  D  •  LIII 
Ricordo  oggi  q°  di  9  dinovembre  come  el  R(everen)do 
P(adre)  D(om.)  Jac°  nro  m(o)derno  Abbate  e 
rimasto  daccordo  co  m°  santj  di  michele  scultore 
fiorentino  ch(e)e(gli)   faccia  dua  tavole  di  terra  cotte 
invetriate  p(er)  la  chiesa  della  croce  delalpe,  una  di 
b(raccia)  5  alta  et  b(raccia)  4  largha  drentovj  questi  santj 
cioe  la  madonna  co  christo  morto  ingrembo  alcapo 
s°  g"^  evagiolista  apiedj  la  magdalena,  da  man 
conventione  dextra  s*"  Michel  archang"  et  s"  helena  imperatrice 
dj  2  tavole  da  sinistra  s*°  Ben*°  et  santo  antonio  co  sua 
invetriate     adornametj  CO  pilastrj  cornice  fregj  et  predella 
CO  trofej  della  passione,  nel'  altra  tavola  inarco 
di  larghezza  di  b(raccia)  2^  (2>4)  et  alta  b(raccia)  3^  drentovj 
G  crocifixo  co  la  sua  lancia  e  spugnia  e  sole 
et  luna,  dintorno  uno  ornameto  di  trofei  di 
passione  tt°  (tutto)  p(er)  prezzo  dj  f  ventisette  di 
m**  (moneta)  di  1  sette  p(er)  f  tt"  daccordo  col 
detto  et  p(er)  lobservaza  si  sottoscriverra  di  suo 
propria  mano- 

Jo  santi  dimichele  scultore  sono  contento  aquanto 
sop(r)a  si  contiene  et  i  fede  o  fatto  q'  (questi) 
vsi(versi)  da  mia  p'pia  (propia)  mano  oggi  q"  di 
detto  i  firenze  -  - 

[Archivio  di  Stato,  Badia  di  Firenze,  Memorarium  Tomo  IV, 
segnato  Corp.  Sopp.  No.  78  Cod.  264  a  c.  29*;  Milanesi,  Misc. 


BENEDETTO  AND  SANTI  BUGLIONI 


213 


32  III  P  c.  150;  Published  by  Fabriczy,  Riv.  d'Arte  II  (1904), 
142.] 


Bibl. : 


Bombe,  B-Th.,  Lex.,  s.v.  Santi  Buglioni;  C-M.,  148;  Fabriczy,  Riv. 
d'Arte,  II  (1904),  142  (Doc.)  ;  M.,  Sc.  Mag.,  1893,  688;  Rossi,  A.  S. 
A.,  VI  (1893),  10  note  G;  Vas.,  Ill,  276  note  3;  VI,  88,  note  i. 

207  MADONNA  DELLA  CINTOLA  AND  SAINTS.  Villafranca.  S. 
Francesco.  Rectangular  altarpiece.  H.,  3.25m.;  W.,  3.05m.  Photo., 
Private. 


This  altarpiece  (Fig.  147),  seems  maladjusted  to  its  frame  and  is  not 
altogether  intelligible.  The  Madonna,  in  an  ill  defined  mandorla  surrounded 
by  cherubs  and  supported  by  four  angels  with  crudely  painted  wings,  lowers 


Fig.  147. — Madonna  della  Cintola,  Villafranca. 

her  girdle  in  such  a  way  as  to  leave  us  in  doubt  whether  it  can  ever  be 
touched  by  S.  Tommaso.  Lateral  curtains  seem  to  shut  off  the  heavenly 
vision  from  the  mortals  below.  These  consist  of  S.  Bernardino  di  Siena, 
standing,  holding  a  disk  with  the  Sacred  Name,  S.  Francesco  on 
his  knees  praying,  S.  Tommaso  with  upraised  hand  behind  the  sarcophagus 
filled  with  lilies  and  roses,  S.  Antonio  of  Padua  holding  the  flame,  and  a 
sainted  Bishop  (Zanobi)  ? 


•214 


BENEDETTO  AND  SANTI  BUGLIONI 


The  predella,  between  pilasters  with  high  vases,  shows  :  ( i )  Two  kneel- 
ing saints;  (2)8.  Francesco  receiving  the  stigmata;  (3)8.  Girolamo  in  the 
desert;  and  (4)  two  kneeHng  saints.    In  the  centre  is  a  ciborio. 

The  frame  of  the  altarpiece  shows  pilasters  with  candelabra  of  the  Badia 
Tedalda  type  and  entablature  with  cherub  and  cornucopia  frieze  like  that 
at  Bevagna. 

208  LAMENTATION  OVER  THE  DEAD  BODY  OF  CHRIST. 
Villafranca.  S.  Francesco.  Round-headed  altarpiece.  H.,  3.25m  ; 
W.,  2.40m. 


From  the  same  atelier  as  the  preceding. 

The  Mater  Dolorosa  is  seated,  holding  the  relaxed  body  of  the  dead 
Christ  on  her  lap  (Fig.  148).  S.  Francesco,  kneeling,  takes  the  place 
usually  given  to  S.  Giovanni  at  the  head  while  the  Maddalena  kneels  at  the 
feet  of  the  Christ.    S.  Giuseppe  (or  S.  Pietro)  stands  with  arms  crossed  at 


Fig.  148. — Lamentation,  Villafranca. 

the  left,  while  S.  Jacopo  Maggiore,  with  book  and  traveller's  staff  is  at  the 
right.  The  huge  cross  is  splashed  with  paint  to  indicate  that  it  is  made 
of  wood,  but  no  care  is  taken  to  show  that  it  was  planted  in  the  ground. 
At  the  top  of  the  cross  is  a  scroll  inscribed :  A  I  •  N  •  R  •  I  A ;  above  the  hori- 


BENEDETTO  AND  SANTI  BUGLIONI  215 

zontal  branches  are  four  angels  carrying  the  nails,  spear,  rod  with  sponge, 
and  crown  of  thorns ;  below  hang  scourges,  and  in  the  centre  S.  Veronica's 
handkerchief.  Calvary  is  indicated  as  a  hill  on  which  are  several  large 
plants. 

The  predella  shows :  (i )  the  Sacred  Monogram;  (2)  the  Visitation  (  ?) ; 
(3)  the  Resurrection;  (4)  Christ  and  the  Samaritan  Woman;  and  (5)  the 
Sacred  Monogram.  Narrow  pilasters  and  insignificant  panels  decorated 
with  marbled,  diamond-shaped  patterns  fill  out  the  scheme  of  the  predella 
The  frame  shows  pilasters  and  archivolt  decorated  with  candelabra  of  the 
Badia  Tedalda  type. 

Bibl. : 
Cr.,  357- 

209     RELIEF  PORTRAIT  HEADS  OF  MICHELANGELO.     1564. 
Florence.     S.  Lorenzo  (formerly). 

Michelangelo  died  on  Feb.  18,  1564  (modern  style).  His  obsequies  were 
celebrated  on  July  14  of  the  same  year  by  the  recently  established  Academy 
of  Design  of  which  he  was  the  distinguished  head.  The  Academicians  re- 
solved to  celebrate  the  event  by  ingenious  invention  rather  than  by  costly 
display.  However,  Vasari  tells  us  the  magnificence  of  the  ceremonial  was 
equal  to  that  of  any  ever  solemnized  by  the  Academy.  It  took  place  in  S. 
Lorenzo,  in  the  central  nave  of  which  was  erected  a  huge  catafalque,  twenty- 
eight  braccia  high,  surmounted  by  a  figure  of  Fame.  It  is  compared  by 
Vasari  to  the  Mausoleum  of  Augustus,  or,  being  quadrangular,  to  the 
Septizonium  of  Severus. 

It  was  composed  in  three  stages.  On  the  first  were  colossal  figures  of  the 
Arno  and  Tiber  and  paintings  of  the  youthful  Michelangelo  under  the 
patronage  of  Lorenzo  de'Medici.  On  the  second  platform  were  groups  of 
Genius  and  Ignorance,  Religion  and  Impiety,  Art  and  Envy,  and  Diligence 
and  Indolence — also  statues  of  Painting,  Sculpture,  Architecture,  and 
Poetry,  as  well  as  paintings  representing  the  life  of  Michelangelo.  Above 
this  platform  was  a  Pyramid,  nine  braccia  high,  on  the  two  principal  sides 
of  which  framed  in  large  ovals  were  heads  of  Michelangelo  in  relief,  verit- 
able portraits,  admirably  executed  by  Santi  Buglioni.  Statues  and  reliefs 
were  made  of  clay  covered  with  a  coating  of  white,  resembling  marble. 
They  must  have  been  somewhat  cumbrous  as  compared  with  the  crea- 
tions in  stafif  of  modern  times.  The  linen  for  the  catafalque  was  furnished 
by  Santi's  son  Michelangelo,  linen  merchant. 


2i6  BENEDETTO  AND  SANTI  BUGLIONI 

Documents: — [Copied  by  Mr.  Rufus  G.  Mather.] 

1.  "Uscita  Dom"  adi  26  di  novembre  1564 

A  spese  del  catafalcho  1  ventuna  p(er)  conto  di  tele  porto 
Michelagniolo  di  santi  linaiuolo  e  p(er)  lui  a  Benedetto 
pergoletj  suo  garzone  contanti 1  21  s  —  " 

2.  "Adi  dicanove  dicembre 

A  spese  del  catafalcho  1  36  s  10  sono  p(er)  resto  di  tele 
havute  da  Michelagnioli  buglioni  linaiuolo  p(er)  resto  di 
saldo  fatto  insieme  con  zanobi  lastrichati  proveditore 
del  catafalcho  come  apare  p(er)  scritta  fatta  e 
sottoscritta  da  e  detti  e  paghati  p(er)  poliza  del  proveditore 

porto  contanti 1  26   s  10 —  " 

[Arch,  di  Stato,  Accad.  del  Disegno,  Entrata  e  Uscita  1 562-1 588,  Seg- 
nato  Note  27  cod.  loi,  c.  105*.] 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Santi  Buglioni;  Esequie  del  divino  Michel- 
angelo Buonarroti  celebrate  in  Firenze  dcdl  'Accadenvia,  etc.  Flor- 
ence, 1564;  Symonds,  II,  325-330;  Vas.,  Ill,  376  note  3;  VI,  88  note 
i;  VII,  296-317,  401-404. 

210     PUTTI,    CAPRICORNI,    HEADS.      1565.      Florence.      Palazzo 
Vecchio. 

Francesco  I,  son  and  successor  of  the  Grand  Duke  Cosimo  de'Medici, 
was  married  to  the  Archduchess  Giovanna  of  Austria  in  1565.  For  the 
celebration  of  the  marriage  festival  Milanesi  states  that  Santi  Buglioni  in 
company  with  Lorenzo  Marignolli,  made  and  glazed  various  "putti,  capri- 
corni  e  teste  di  terra  e  di  cartapesta"  to  ornament  the  courtyard  of  the 
Palazzo  Vecchio.  Green  garlands  were  swung  upon  the  walls  or  between 
the  columns,  supported  or  separated  by  the  putti,  capricorni,  or  heads. 
Francesco  was  married  in  the  month  of  December  when  Capricorn  was  in 
the  ascendancy  (Vas.  VIII,  569). 

The  festival,  of  unusual  brilliancy,  was  devised  by  Vincenzo  Borghini. 
A  contemporary  description  of  it  is  published  by  Milanesi  at  the  end  of  his 
edition  of  Vasari's  Vite.  To  this  is  added  a  note  published  by  Mellini  at 
the  end  of  his  Descrisione  of  the  same  festival  in  which  the  names  of  the 
artists  employed  are  enumerated.  It  may  be  observed  that  in  this  list 
Marignolli's  name  occurs,  but  no  mention  is  made  of  Santi  Buglioni. 

Bibl. : 

Bombe,  B-Th.,  Lex.,  s.v.  Santi  Buglioni;  Vas.,  Ill,  376,  note  2;  VI. 
88,  note  i;  VIII,  517-622. 


III.     BIBLIOGRAPHY  AND  INDEX 


BIBLIOGRAPHY  AND  INDEX 


I.     Bibliographical  Abbreviations 


A.  in  A  =  Art  in  America.     New  York, 

1913- 
A.  J.  A.  =^  American  Journal  of  Archae- 
ology.   Archaeological  Institute  of  Amer- 
ica.    New  York,  1885- 
A.  e  S.  =  Arte  e  Storia.     Florence,  1881- 

A.  S.  A.  =  Archivio  storico  dell'  arte. 
Rome,  1 888- 1897. 

L'Arte    =    L'Arte    (gia    Archivio    Storico 

deir  Arte).     Rome,  1898- 
Amati  =:  Amati,  Dizionario  corografico-il- 

lustrato   dell'  Italia.     10  vols.  n.d. 
Angelelli,  =  Cav.  Antonio  Angelli,  Mem- 

orie   Storiche   di  Montaione  in   Valdelsa. 

Florence-Rome,   1875. 
Ann.    Arch.    =    Annales    Archeologiques. 

Paris,  1844-1881. 
Anselmi  =  Anselmo  Anselmi,  L'ltalia  ar- 

tistica  e  industriale  ^  Le  nmioliche  roh- 

hiane  nelle  Marche,  in   L'ltalia  artistica 

e   industriale,   I    (1893-1895),   77-79,    167- 

173. 

B.  G.  =  S.  Baring  Gould,  The  Lives  of  the 
Saints.  New  and  Rev.  Ed.  16  vols. 
Edinburgh,  1914. 

B.  J.  =  Henry  Barbet  de  Jouy,  Les  della 
Robbia.     Paris,  1885. 

B.  J.,  Desc.  =  Henry  Barbet  de  Jouy,  De- 
scription des  Sculptures  du  Moyen  Age 
et  de  la  Renaissance.  Musee  National  du 
Louvre.     Paris,  1876. 

B-Th.  =  Felix  Becker  und  Ulrich  Thieme. 
Allgemeines  Lexikon  der  bildenden 
Kiinstler.  11  vols,  published.  Leipzig, 
1907- 

B.  Denkm.  =  Wilhelm  Bode,  Denkmdler 
der  Renaissance-Sculptur  Toscanas.  Text 
and  557  plates.     Munich,    1892-1905. 

B.  Kf.  =  Wilhelm  Bode,  Die  KUnstler- 
familie  della  Robbia,  in  Dohme,  Kunst 
und  Kiinstler  Italiens,  H,  i.  No.  47. 
Leipzig,    1878. 

B.  und  Tsch.  =  Wilhelm  Bode  und  Hugo 
von  Tschudi,  Beschreibung  der  Bildwerke 
der  Christlichen  Epoche.     Berlin,  1888. 

Bacci,  Riv.  d'Arte,  H  (1904)  =  Peleo  Bac- 
ci,  Una  "Resurresione"  di  Benedetto 
Buglioni,  in  Rivista  d'Arte,  II  (1904), 
49-63    (Doc). 

Baldinucci  =  Filippo  Baldinucci,  Opere. 
14   vols.      Milan,    1808-1812. 

Bardini  Coll.  =  Stefano  Bardini,  Cata- 
logue des  objets  d'art  .  .  .  provenant  de 
la  collection  Bardini  de  Florence.  Vente 
a  Londres  chez  Mr.  Christie  le  Mai  1902. 
Paris,   1902. 


Bardini  Sale  of  1918  =  The  Stefano  Bar- 
dini Collection.  Sale  at  New  York,  April 
22-27,  1918.     New  York,  1918. 

Begni  =  Ernesto  Begni,  The  Vatican.  New 
York,  1914. 

Beni  =  C.  Beni,  Guida  illustrata  del  Ca- 
sentino.     Florence,  1889. 

Bocchi-Cinelli  =1  Francesco  Bocchi  e  Gio- 
vanni Cinelli,  Le  bellesze  della  cittd  di 
Firenze  .  .  .  scritta,  gia  da  M.  Francesco 
Bocchi  e  ora  da  M.  Giovanni  Cinelli 
ampliate  ed  accresciute.     Florence,   1677. 

Boll.  d'Arte  =  Bolletino  d'Arte.  Rome, 
1907- 

Briganti  :=  Antonio  Briganti,  Cristina  di 
Bolsena.     Venice,   1908. 

Brogi,  Inv.  =  Francesco  Brogi,  Inventario 
generale  degli  oggetti  d'arte  della  provin- 
cia  di  Siena.     Siena,  1897. 

Burckh.  =  Burckhardt-Bode-Fabriczy,  Der 
Cicerone.      9th    ed.      Leipzig,    1904. 

Burl.  =:  Marchesa  L.  Burlamacchi,  Luca 
della  Robbia.     London,  1900. 

C.  =  G.  B.  di  Crollanza,  Dizionario  Storico- 
blasonico  delle  famiglie  nobili  e  notabile 
italiane.     3  vols.     Pisa,   1886. 

C-M.  =  Camillo  Jacopo  Cavallucci  et 
fimile  Molinier,  Les  della  Robbia.  Paris, 
1884. 

Campori,  =  Giuseppe  Campori,  Memorie 
biografiche  degli  scultori,  architetti,  pit- 
tori  etc  nativi  di  Carrara  etc.     Modena, 

1873. 

Carmichael  ^  Montgomery  Carmichael, 
Francia's  Masterpiece.  An  Essay  on  the 
Beginnings  of  the  Immaculate  Concep- 
tion in  Art.     New  York,  1909. 

Carocci,  AJ.D.I.,  =  Giudo  Carocci,  La 
cantoria  nella  Pieve  di  S.  Maria  Impru- 
neta  ed  un  fregio  robbiano,  in  Arte  Ital- 
iana  Decorativa  e  Industriale,  VI  (1897), 
65-66. 

Carocci  =:  Guido  Carocci,  /  Dintorni  di 
Firenze.     2  vols.     Florence,   1906-1907. 

Carocci,  III.  Fior.  =  Guido  Carocci,  La  lu- 
netta  Robbiana  d'Ognissanti,  in  L'lllus- 
tratore  Fiorentino,   1912,   141-143. 

Carocci,  5".  Case.  =  Guido  Carocci,  II  co- 
mune  di  San  Casciano  in  Val  di  Pesa. 
Florence,   1892. 

Carocci,  Valdarno  1=  Guido  Carocci,  // 
Valdarno  (Italia  artistica.  No.  20). 
Bergamo,  1906. 

Carotti,  A.  S.  A.,  IV  (1891)  =  Giulio 
Carotti,  //  tabernacolo  con  nicchia  per 
le  abluzioni  nella  sagrestia  della  chiesa  di 


219 


220 


BIBLIOGRAPHY  AND  INDEX 


5".    Niccold    da    Tolentino    in    Prato,    in 

Archivio    Storico    dell'Arte,    IV     (1891) 

112-116. 
Cocchi    =:   Arnaldo    Cocchi,   Le    chiesa   di 

Firense    dal    secolo    IV    al    secolo    XX. 

Florence,  1903. 
Contrucci  =  Pietro  Contrucci,  Monumento 

robbiano    nella    loggia    delta    spedale    di 

Pistoia.     Prato,   1835. 
Corradini    =    Enrico    Corradini,    Prato    e 

suoi  dontorni    (Italia   artistica.   No.   12). 

Bergamo,  1905. 
Cr.  =  Maud  Cruttwell,  Luca  and  Andrea 

delta  Robbia  and  their  successors.     Lon- 
don and  New  York,  1902. 
Cr.,    Gas.  B.  A.,  XXXI    (1904)    =   Maud 

Cruttwell,   Girotamo   delta  Robbia  et  ses 

Oeuvres,    in    Gazette    des    Beaux    Arts, 

XXXI    (1904),  27-52,    140-148. 
Demmin    =    Auguste    Frederic    Demmin, 

Guide   de   I'amateur  le  faiences   et  por- 

celaines  etc.     Paris,   1863. 
Deneken  ^  Friedrich  Deneken,  Bericht  des 

k.  Friedrich  Museum  zu  Krefeld.     Kre- 

feld,  1903- 
Didron,  Ann.  Arch.,  1861  =  Didron  Aine, 

Les  Oeuvres  de  Misericorde,  in  Annales 

Archeologiques,    XXI    (1861),    195-209. 
Drake    =    Maurice    and    Wilfred    Drake, 

Saints  and  their  Emblems.     London  and 

Philadelphia,   1916. 
Fabriczy,  Riv.  d'Arte,  II   (1904)  =  Cornel 

de   Fabriczy,   Benedetto  Bugtioni,   in   Ri- 

vista   d'Arte,    II    (1904),   I39-I42. 
Fabriczy,   R.   f.   K.,  XXIX    (1906),   47   = 

Cornel    de    Fabriczy,    a    note    on    Bacci's 

article  in  the  Rivista  d'Arte,  1904,  49-63. 
Fov.  =  Jean  de  Foville,  Les  delta  Robbia. 

Paris,   1910. 
Gerspach,  Rass.  d'Arte,  V  (1905)  =  £dou- 

ard   Gerspach,    Oeuvres   des   Robbia   pcu 

coniiues     on     inconnues,     in     Rassegna 

d'Arte  V   (1905),  94-95;  VI    (1906),   14- 

15. 
Geymiiller  =  Freiherr  Heinrich  Adolf  von 

Geymiiller    und    C.    M.    von    Stegmann, 

Die     Architectur     der     Renaissance     in 

Toscana.     11    vols.     Munich,    1885-1908. 
Giglioli    =    Odoardo    H.    Giglioli,    Pistoia 

netle  sue  opere  d'arte.    Florence,  1904. 
Giglioli,   a   Prato   =   Odoardo   H.   Giglioli, 

a  Prato  impressioni  d'arte.  Florence,  1902. 
Gior.  Erud.  Artistica  =  Giornale  di  Erudi- 

zione    artistica.      Perugia,    1872-1877. 
Graziani    =    Giovanni    Graziani,    L'Arte    a 

Citta  di  Castetto.    Citta  di  Castello,  1897. 
Gsell-Fels,    Oberitalien    =    Theodor    Gsell- 

Fells,    Oberitalien    und    die    Riviera,    in 

Meyer's  Reisebiicher.     Leipzig  und  Wien, 

1892. 
Guardabassi   =    Mariano    Guardabassi,   In- 

dice-Guida  dei  monumenti  pagani  e  cris- 

tiani  riguardenti  I'istoria  e  I'arte  esistente 

nella   provincia    dell'    Umbria.      Perugia, 

1872. 
Guasti,  Cafaggiolo  =  Gaetano  Guasti,  Caf- 

aggioto  e  d'altre  fabbriche  di  ceramiche 

in  Toscana.     Florence,   1902. 


Guide  Joanne,  It.  Centr.  =  Paul  Joanne, 
Itatie.  II  Itatie  du  Centre  (Collection 
des  Guides-Joanne).     Paris,  1891. 

111.  Fior.  =  L'lllustratore  Fiorentino. 
Florence,    1880-   Nuova   Serie,    1904-. 

Labarte  =:  Jules  Labarte,  Histoire  des  arts 
industriels  au  moyen  age  et  a  I'epoque  de 
la  renaissance.  4  vols,  of  text,  and  2  of 
plates.     Paris,  1864-1866. 

Landucci  =  Luca  Landucci,  Diario  fioren- 
tino dal  1450  al  1516  .  .  .  continuato  da 
un  anonimo  fino  al  1542.     Florence,  1883. 

(von)  Lanna  Sale  1909  =  Sammtung  des 
freiherrn  Adalbert  von  Lanna  (Prag). 
Versteigerung,  Nov.  9-16,  1909.  2  vols. 
Berlin,   1909. 

Lazari  :=  Vincenzo  Lazari,  Notisia  delte 
opere  d'arte  e  d'antichita  delta  raccolta 
Correr  di  Venecia.     Venice,  1859. 

Litta  =  Conte  Pompeo  Litta,  Famiglie  cele- 
bri  d'ltatia.     Milan,  1819- 

Lydig  Collection  ^  The  Rita  Lydig  Col- 
lection of  Notable  Art  Treasures  of  the 
Gothic  and  Renaissance  Periods.  New 
York,   1913. 

Mancini,  Cortona  =  Girolamo  Mancini, 
Cortona,  Montecchio  Vespone,  e  Castig- 
lione  Fiorentino.     Bergamo,  1909. 

Marcotti  =  J.  Marcotti,  Guide-Souvenir  de 
Florence.     Florence,    1892.; 

M.,  A.  in  A.  =  Allan  Marquand,  A  Statu- 
ette of  Dovisia  by  Giovanni  delta  Rob- 
bia in  the  Minneapolis  Museum,  in  Art 
in   America,   V    (1917),    195-199. 

M.,  A.  I.  A.  XXII  (1918)  =  Allan  Mar- 
quand, Unpublished  Documents  relating 
to  the  Ceppo  Hospital  at  Pistoia,  in 
American  Journal  of  Archaeology,  XXII 
(1918)  361-377- 

M.,  A.  J.  A.,  XXII  (1918),  310  =  Allan 
Marquand,  Unpublished  Documents  re- 
lating to  the  worti  of  Benedetto  and 
Santi  Bugtioni  for  Badia  Tedatda,  in 
American  Journal  of  Archaeology,  XXII 
(1918),  310-318. 

M.,  A.  J.  A.,  XXIV  (1920)  =  Allan  Mar- 
quand, A  New  Document  for  the  Ceppo 
Hospital  Medallions,  in  American  Jour- 
nal of  Archaeology,  XXIV  (1920),  269- 
270. 

M.,  Br.  =  Allan  Marquand,  The  Decora- 
tion of  the  Ceppo  Hospital  at  Pistoia,  in 
The   Brickbuilder,    II    (1902),   222-224. 

M.,  D.  R.  A.,  =,  Allan  Marquand,  Delia 
Robbias  in  America.  Princeton  and  Ox- 
ford,  1912. 

M.,  G.  d.  R.  =  Allan  Marquand,  Giovanni 
delta  Robbia.  Princeton  and  Oxford, 
1920. 

M.,  R.  H.,  =  Allan  Marquand,  Robbia 
Heraldry.     Princeton  and   Oxford,    1919. 

M.,  Sc.  Mag.  =  Allan  Marquand,  A  Search 
for  delta  Robbia  Monuments  in  Italy,  in 
Scribner's    Magazine,    Dec,    1893. 

R.  G.  Mather,  L'Arte,  XXII  (1919),  107 
=  Rufus  G.  Mather,  Nuovi  Documenti 
Robbiani,  in  L'Arte,  XXI  (1918),  190- 
209;  Idem.,  Seconda  Serie,  L'Arte,  XXII 


BIBLIOGRAPHY  AND  INDEX 


221 


(1919),  105-112;  Idem,  Terza  Serie, 
L'Arte,    XXII    (1919),    243-248    (Docs.). 

Mazzini  =  Ubaldo  Mazzini,  Alcuni  opere 
di  Benedetto  Buglioni,  estr.  dal  Giorn. 
Stor.  e  Lett,  della  Liguria,  VI  (1905), 
322-326. 

Mazzini  =  Ubaldo  Mazzini,  La  vicende  di 
un  invetriato  robbiano.     La  Spezia,  1904. 

Melani,  A.  e.  S.  =  Alfredo  Melani,  Una 
lunetta  nello  Spedale  del  Ceppo  a  Pistoia, 
in  Arte  e  Storia,  XXII   (1903),  lo-ii. 

Melani,  Sc.  Ital.  =  Alfredo  Melani,  La 
Scoltura  italiana  (Manuali  Hoepli). 
Milan,   1885. 

Michel  =  Andre  Michel,  Histoire  de  I'Art 
depuis  les  premiers  temps  Chretiens 
jusqu'  a  nos  jours.  5  vols,  published. 
Paris,   1905- 

Murray,  Central  Italy  =  Murray's  Hand- 
book for  Travellers  in  Central  Italy. 
London,    1892. 

N.  Riv.  Misena  =  Nuova  Rivista  Misena. 
Arcevia,   1888-1894. 

P.  =  Priorista,  a  Manuscript  in  the  Prince- 
ton Art  Museum  containing  a  classified 
list  of  the  Priors  of  Florence  with  their 
coats  of  arms. 

Perkins,  H.  H.  =  Charles  C.  Perkins,  His- 
torical Handbook  of  Italian  Sculpture. 
New  York,   1883. 

Perkins,  T.  S.  —  Charles  C.  Perkins,  Tus- 
can Sculptors.     2  vols.     London,  1864. 

Poggi,  Cat.  Mus.  di  Duomo  .  =  Giovanni 
Poggi,  Catalogo  del  Musco  dell'  Opera 
del  Duomo.     Florence,  1904. 

Pointner  =  Andy  Pointner,  Die  Werke  des 
florentinischen  Bildhauers  Agostino  d' An- 
tonio di  Duccio.     Strassburg,  1909. 

Puccinelli  =  P.  D.  Placido  Puccinelli, 
I  storia  dell  'Eroiche  Attioni  di  Ugo  il 
Grande  con  la  Cronica  dell'  Abbadia  di 
Firenze.    Milan,  1664. 

R.,  D.  R.  =  Marcel  Reymond,  Les  della 
Robbia.     Florence,   1897. 

R.,  Sc.  Fl.  —  Marcel  Reymond,  La  Sculp- 
ture Florentine.  4  vols.  Florence,  1897- 
1900. 

R.  f.  K.  =  Repertorium  fiir  Kunstwissen- 
schaft.     Stuttgart  and  Berlin,   1876- 

Rass.  d'Arte  =  Rassegna  d'Arte.  Milan 
and  Rome,  1901- 

Rass.  bibl.  arte  ital.  =  Rassegna  biblio- 
grafica  dell'  arte  italiana.  Rocca  S.  Cas- 
ciano,   1898- 

Repetti  =  Emanuele  Repetti,  Disionario 
geografico,  fisico,  storico  della  Toscana. 
6  vols.     Florence,  1833-1846. 

Richa  =  Giuseppe  Richa,  Notizie  istorische 
delle  chiese  fiorentine.  10  vols.  Flor- 
ence,   1754-1762. 

Riv.  d'Arte  =  Rivista  d'Arte.  Florence, 
19.13- 

Robinson  =  J.  C.  Robinson,  Italian  Sculp- 
ture of  the  Middle  Ages  and  Period  of 
the  Revival  of  Art  in  the  South  Ken- 
sington Museum.     London,  1862. 

Roscoe  =  William   Roscoe,   The  Life  and 


Pontificate  of  Leo  the  Tenth,  2  vols. 
London,    1855-1858. 

A.  Rossi,  Gior.  d'Erud.  Artistica,  II  (1873), 
250  =  Adamo  Rossi,  Documenti  per  la 
storia  della  scoltura  ornamentale  in 
pietra,  No.  4.  Lodo  della  cappella  di  S. 
Giuseppe  in  S.  Lorenzo  di  Perugia,  etc., 
in  Giomale  di  Erudizione  Artistica,  II 
(1873),  250-254. 

U.  Rossi,  A.  S.  A.,  VI  (1893)  =  Umberto 
Rossi.  //  museo  nazionale  di  Firenze  nel 
triennio  1889-1891  in  Archivio  Storico 
deir  Arte,  VI    (1893),   1-24. 

S.  =  Paul  Schubring,  Luca  della  Robbia 
und  seine  Familie.  Bielefeld  und  Leip- 
zig, 1905. 

Sangiorgi  =  Galerie  Sangiorgi,  Rome. 
Palais  Borghese.  Catalogue  des  Objets 
d'Art  Ancien  pour  I'Annee  1913.  Venice, 
1913. 

Santoni,  A''.  Riv.  Misena  =  Can.  M.  San- 
toni,  Altare  di  maiolica  ai  Cappuccini  di 
Camerino,  in  Nuova  Rivista  Misena,  I 
(1888),  35-37- 

Schottmiiller  =  Frida  Schottmiiller,  Die 
Italienischen  und  Spanischen  Bildwerke 
der  Renaissance  und  Barocks  etc.  Ko- 
nig.  Mus.  zu.  Berlin.  Beschreibung  der 
Bildwerke  der  christlichen  Epochen.  2'* 
auflage.     Berlin,  1913. 

Scott  =  Leader  Scott,  Vincigliata  and  Mai- 
ano.     Florence,   1891. 

Seilliere  Coll.  ==  Catalogue  des  objets  d'Art 
etc  provenant  de  I'importante  collection 
de  feu  M.  le  Baron  Achille  Seilliere. 
Paris,   1890. 

Seligman  =  Arnold  Seligman,  The  Nativity 
by  Giovanni  della  Robbia.    Paris,  1920. 

Stuart,  Perugia  ^  R.  A.  G.  Stuart,  Peru- 
gia.    Bergamo,  1905. 

Supino  =:  Igino  Benvenuto  Supino,  Cata- 
logo del  R.  Museo  Nazionale  di  Firenze. 
Rome,  1898. 

Symonds  =:  John  Addington  Symonds, 
Renaissance  in  Italy,  5  vols.  London, 
1880-1882. 

Tigri  =:  Giuseppe  Tigri,  Intorno  al  palaz- 
zo  Pretoria  del  podesta  di  Pistoia,  Me- 
moria  storica.     Pistoia,  1848. 

Tolomei  =^  Francesco  Tolomei,  Guida  di 
Pistoia  etc.     Pistoia,   182 1. 

Vas.  =  Giorgio  Vasari,  Le  vite  de'  piu  ec- 
cellenti  pittori,  scultori,  ed  architettori. 
Ed.  Gaetano  Milanesi.  9  vols.  Florence, 
1878- 1906. 

Vaughan,  =  Herbert  M.  Vaughan,  The 
Medici  Popes.  New  York  and  London, 
1908. 

Voragine  =  Jacques  de  Voragine,  La 
Legende  dorce.     Paris,  1905. 

W.  =  Howel  Wells,  Florentine  Heraldry. 
London,  1900. 

Zampi  =  Paolo  Zampi,  Di  un  altare  in- 
vetriato dai  della  Robbia  esistente  in 
Bolsena,  Memoria,  in  Nuova  Giornale 
Arcadico  di  Scienze,  Lettere  ed  Arti, 
Serie  III,  vol.  II,  Ease.  V,  Maggio  1889. 
Published  separately,  Milan,  1890. 


222 


BIBLIOGRAPHY  AND  INDEX 


2.     Index  of  Subjects 


Adoration  of  the  Magi,  i6i. 

Angels,  75-77,  8i. 

Angels,  Candelabrum  bearers,  20,  diT. 

Annunciation,  54,  55,  124,  132,  133,  147,  156, 

159,  190,  191. 
Apparition,  46. 

Assumption,  102,  105,  124,  147. 
Baptism,   102. 
Birth  of  the  Virgin,  192. 
Bishop,  67. 
Capricorni,  216. 
Casavecchia,    103. 
Ceppo  Hospital  Stemma,  iii. 
Charity,  115,  173. 
Cherubs,  36,  39,  65,  (:^,  116,  129. 
Christ, 

crucified,  65,  67,  97. 

in  Hades,  4. 

in  Sepulchre,  106,  117,  119,  124,  133, 
139,  141,  194. 

youthful,  17,  59. 
Ciborio,  39,  40,  41,  62,  99,  154,  187. 
Coronation,  91,  94. 
Crucifix,  loi. 

Crucifixion,  65,  67,  97,  211. 
David,  7. 

Deeds  of  Mercy,  165-182. 
Deposition,  190. 
Dovizia,  79. 
Ecce  Agnus  Dei,  190. 
Epiphany,  87,  124,  161. 
Faith,  173. 
Figurines,  196. 
Fra  Leo,  194. 
Frame,  104,  113,  136. 
Gethsemane,  184. 
Giovanni  delle  Bande  Nere,  195. 
Heads,  195. 

Holy  Water  Stoup,  60. 
Hope,  115,  173. 
Immaculate  Conception,  53. 
Isaiah,  7. 
Justice,  173. 
Lambs,  36. 

Lamentation,  142,  143,  211,  214. 
Lavabo,  15,  16,  23,  144. 
Lectern,  ir. 
Leo  X,  no. 
Lorini,  114. 
Maddalena,  67. 

Madonna,  35,  47,  50,  57,  75-77,  81,  82,  87, 
88,  101-102,  106,  109,  121,  122,  129,  135, 
14T,  146,  164,  182. 

adoring  Child,  72-75,  130,  131. 

della  Cintola,  149,  153,  155,  213. 

delle  Grazie,  71. 

and  Monks,  19,   loi. 

and  Saints,  47,  50,  57,  61,  68,  70,  71,  72, 
77,  78,  81,  83,  105,  116,  119,  121,  122, 
139,  147,  160,  187,  188,  193. 

in  Glory,  141,   142. 
Mask,  184. 
Michelangelo  portrait,  215. 


Miracle  of  Bolsena,  65-66. 

Monogram  of  Jesus,  13,  14,  36,  69,  215. 

Mori,   106. 

Nativity,  45,  87,  122,  124,  125,  126,  127,  128, 

129,  132,  139,  141,  148. 
Niche,  17. 

Noli  me  tangere,  47. 
Pavements,    196-21 1. 
Pilasters,  56,  167,  175. 
Prophets,  59. 
Presentation,   192. 
Prudence,  173. 
Putti,  216. 

Resurrection,  27,  215. 
Ricasoli,  107. 
Saints,  82,  83,  97,  99. 
Samaritan  Woman,  15,  48,  215. 
S.  Agnese,  95,  189. 
S.  Andrea,  124. 
S.   Anna,   47. 
S.  Anselmo,  55. 
S.  Antonio  Abate,  60,  61,  77,  120,  122,  157, 

194- 
S.  Antonio  of  Padua,  124,  148,  194,  213. 
S.  Bartolommeo,  119. 
S.  Benedetto,  13,  15,  126. 
S.  Bernardino,  120,  194,  213. 
S.  Chiara,  106. 
S.  Cristina,  62,  64. 
S.  Domenico,  139. 
S.    Francesco,   85,   117,    119,    121,    124,   128, 

139,  142,  147,  148,  189,  193,  194,  213,  214. 
S.  Gabriele,  156,  157,  160,  192. 
S.  Giovanni  Battista,  18,  97,  122,  190. 
S.  Giovanni  Evangelista,  117,  119,  124,  142, 

184,  194. 
S.  Giovannino,   17,  20,  21,  59,  75,  130,  131. 
S.  Girolamo,  50,  106,  117,  121,  124,  133,  150, 

156,  214. 
S.  Giuliano,  119,  147,  157. 
S.  Giuseppe,  124,  129,  161,  214. 
S.  Gregorio,  98. 
S.  Gualberto,   160. 

S.  Jacopo  Maggiore,  127,  160,  184,  214. 
S.  Leonardo,  69,    126. 
S.  Lorenzo,  193. 
S.  Lucia,  80,  124,  128,  136. 
S.  Marco,  119. 
S.  Maria  Egiziaca,  19,  95. 
S.  Maria  Maddalena,  20,  106. 
S.  Martino,  98. 
S.  Michele,  98,  108. 
S.  Niccolo,  50,  98. 
S.  Paolo,  193. 

S.  Pietro,   13,  14,  164,   184,   193. 
S.  Rocco,  85,  148,   187. 
S.  Romolo,  20,  95. 
S.  Sebastiano,  77,  97,  148,  157,  187. 
S.  Stefano,  20,   193. 
S.  Tommaso,  149,  153,  156,  163,  213. 
S.  Veronica,  193. 
Sirens,  165,  174. 
Sposalizio,  69,  192. 


BIBLIOGRAPHY  AND  INDEX 


223 


Stemma,  3,  T,  22,  23,  24,  35,  38,  49,  52,  60, 
61,  85,  86,  91,  103,  106,  107,  no,  III,  114, 
146. 

Stigmata,  123,  193. 

Symbols  of  the  Passion,  190,  193,  211,  212. 

Tablet,  no. 


Trinity,  97,  164. 

Trophies,  184. 

Troscia,  146. 

Vault,  193. 

Virtues,  iiS,  165. 

Visitation,  124,  190,  192,  215. 


3.     Index  of  Places 


Amelia,  22. 

Anghiari,   107. 

Antona,  72. 

Arezzo,  70. 

Arsoli,  66. 

Badia  a  Settimo,  39. 

Badia  Tedalda,  116,  153,  I54,  iS6,  I57- 

Baltimore,  81,  82,  83,  88. 

Baize,  Le,  122. 

Barga,  105,  106. 

Berlin,  72,  76,  79,   131- 

Bevagna,  191,  193. 

Bibbiena,  190. 

Bolsena,  62-69,  80. 

Borgo  a  Mozzano,  54. 

Borgo  S.  Sepolcro,  132. 

Boston,  129. 

Braunschweig,  75. 

Buggiano,  52,  146. 

Caiano,  78. 

Camerino,  188. 

Campi,  71. 

Castiglione  Fiorentino,  102,  108,  147. 

Cavriglia,  20,   21. 

Certaldo,  39. 

Chianti,  193. 

Chicago,  97. 

Citta  di  Castello,  161. 

Cleveland,  87. 

Colcellalto,  164. 

Croce  deir  Alpe,  211. 

Cutigliano,  119. 

Diacceto,  78. 

Doccialina,  78. 

Dicomano,  161. 

Empoli,  53,  55,  56,  76,  147. 

Fabrica  di  Peccioli,  59,  60,  61. 

Fiesole,  17,  95. 

Florence, 

Museo  Nazionale,   17,  48,  73,   109,   122, 
141,  160. 

Museo  deir  Opera  del  Duomo,  19. 

Duomo,  35. 

SS.  Annunziata,  4,   196. 

S.  Lorenzo,  no,  115,  215. 

S.  Lucia,  136. 

S.  Miniato,  19,  lOi. 

S.  Pancrazio,  143. 

S.  Pietro  Maggiore,   159. 

Ognissanti,  94. 

Scalzo,   18. 

Vergine  Maria,  Compagnia,  20. 

Biblioteca  Laurenziana,  196. 

Innocenti  Hospital,  139. 

Palazzo  Vecchio,  196,  197,  216. 

Pitti  Palace,  196,  200. 


Antinori  Collection,  132. 

Barbieri  Nini  Collection,  113. 

Bardini  Collection,  56,  79,  n6,  122,  184. 

Bourtourlin  Collection,  184. 

Frescobaldi  Collection,  71,  77. 

Orselli  Collection,  75 

Palmieri  Collection,  39. 

Private  Collection,   129. 

Piazza  de  S.  Marco,  195. 

Via  Nazionale,  135. 
Fresciano,  164. 
Gavinana,  97,  99. 
Guilford,  74. 
Krefeld,  56,  57. 
Lama,  182. 

London,   18,  2>^,   126,   133,  146. 
Madrid,  74. 
Massa-Carrara,  87. 
Montebottolino,  163. 
Montemignaio,  yy. 
Monte  Oliveto,  142. 
Montepaldi,  160. 
Naples,    195. 

New  York,  74,  no,  121,  122,  127,  136,  142. 
Nippozano,   141. 
Oxford,   n6. 

Paris,  74,  75,  83,  119,  125,  128,  129. 
Perugia,  7,  n-i6,  23. 
Pescia,  97,  114. 
Petrograd,  127. 
Pisa,  141. 

Pistoia,  7,  27,  91,  in,  165. 
Poppi,  124,  149. 
Porrena,  155. 
Prato,  144. 
Radicofani,  67. 
Redhill,    131. 
Rifredi,  47,  69. 
Rincine,  81. 
Rome,  3,  21. 
Roslyn,  82. 

S.  Casciano,  57,  75,  102,  103,  104. 
S.  Giovanni  in  Valdarno,  22,,  85. 
S.  Fiora,  97. 
Sarzana,  133. 
Scarperia,  24,  35,  86. 
Selci,  164. 
Sesto,  38,  106. 
Signa,  39. 
Stia,  45,  46,  187. 
Tizzano,  61. 

Turin,  130.  i 

Villafranca,  213,  214. 
Vincigliata,  132,  133,  139. 
Volterra,  49. 


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